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lecture notes generated from 2020 Creative Writing Lectures at BYU by Brandon Sanderson
https://www.youtube.com/playlist?list=PLSH_xM-KC3Zv-79sVZTTj-YA6IAqh8qeQ
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Lecture #13 (final section)

Definitions

  • Indie Publishing: Independently publishing a book, often through self-publishing platforms, without the involvement of a traditional publisher.
  • Vanity Publishing: A publishing model where authors pay to have their books published, often with little or no editorial, marketing, or distribution support.
  • Traditional Publishing: Publishing a book through an established publishing house that handles editing, marketing, distribution, and other aspects of the publishing process.
  • Big Five Publishers: The five largest publishing houses in the English-language market: Penguin Random House, Hachette Book Group, HarperCollins, Simon & Schuster, and Macmillan.
  • Imprint: A specific brand or division within a larger publishing house (e.g., Tor Books within Macmillan).
  • Publisher: The head of a publishing house or imprint, responsible for the business side of operations.
  • Editorial Director: A senior-level editor who oversees the editorial department, managing editors and guiding the overall editorial vision.
  • Editor: Acquires books, works with authors on revisions, and manages the publication process for individual titles.
  • Acquisitions Editor: An editor whose primary responsibility is to find and acquire new manuscripts.
  • Slush Pile: Unsolicited manuscripts sent to a publisher or agent.
  • Midlist Author: An author whose books consistently sell a moderate number of copies, making a profit but not becoming bestsellers.
  • Advance: A sum of money paid to an author by a publisher prior to publication, which is an advance against future royalties.
  • Query Letter: A one-page letter sent to literary agents or publishers to pitch a book and introduce the author.
  • Agent: A person who represents an author, selling their work to publishers, negotiating contracts, and managing other business aspects.
  • Royalty: A percentage of the revenue from book sales that is paid to the author.
  • Net: The amount of money a publisher receives after deductions (e.g., retailer discounts, returns).
  • Print on Demand: A publishing method where books are printed individually as they are ordered.
  • Hybrid Author: An author who publishes both traditionally and independently.
  • Platform Writer: An author who uses an existing platform (e.g., blog, social media following) to market their books.
  • Co-op: Cooperative advertising where publishers and booksellers share the cost of promoting a book.
  • Most Favored Nations Clause: A contractual clause that guarantees an author the same favorable terms as any other author signed by the publisher.
  • Back Channeling: A form of conversation where a listener provides feedback to show they understand.

Lecture Notes: Writing Science Fiction and Fantasy - Indie Publishing

Introduction

(00:00:00) This lecture focuses on indie publishing, comparing it to traditional publishing, and discussing strategies for success in the indie market.

  • Format:
    • Firehose lecture: A lot of information delivered quickly.
    • "This will be another fire hose session I apologize for that but it is going to happen uh we will slow down next week for our last week where we will I will do q a on publishing questions from you so hold your questions."
  • Collaboration:
    • Notes and insights from Jennifer Peale and Becky Monson, two indie-published romance novelists, are incorporated.
    • "I want to thank in particular Jennifer Peale and Becky Monson um these two are the students I have this year who are professional romance novelists who took the class because they wanted to try something new and learn some fantasy and science fiction uh they're both indie published and they have been an enormous research source for preparing this lecture."

A Brief History of Indie Publishing

(00:01:42) The lecture provides a simplified overview of the evolution of indie publishing.

  • Early Indie Publishing:
    • Difficult and often associated with vanity publishing.
    • Limited success without established distribution channels.
    • "Back in the day if you wanted to be independently published it was really hard some people still did it and were successful uh famously the Christmas box was an independent book back in the day Aragon was a uh an indie book back before the um the big change ever happened in about 2010."
  • Vanity Publishing:
    • Authors pay a press to publish their books, often receiving little support and ending up with unsold copies.
    • "Vanity publishing would be you go to a press you pay a bunch of money you are your book is published but you get five thousand copies which you store in your garage and occasionally give away or maybe sell."
  • The Digital Revolution (2010):
    • The rise of e-books and platforms like Kindle Direct Publishing (KDP) transformed the landscape.
    • "Something happened in 2010 um the digital revolution finally hit books."
    • Indie authors gained more control and access to readers.
  • Impact on Traditional Publishing:
    • E-book and audiobook sales grew significantly, while print sales stabilized.
    • "My royalty statements went from a handful of ebook copies being sold the air just tiny numbers you know earnings and they're like your ebook earnings this uh this quarter were 53 dollars to suddenly 20 to 30 percent of my business moving uh digital in one year."
    • Midlist authors were particularly affected, with many shifting to indie publishing.
    • "Midlist book is a book that makes money for the publisher pays for itself but doesn't make so much that it's really funding anything else these are successful books by career authors who have a dedicated fan base but not a huge one these people were very important to publishing for many many many years because them an aggregate would be as much money to the publisher as their few headliners of which they'd only have a couple and so keep maintaining a really strong mid list was a very important part of the business however some things have happened one is in the publishing and indie publishing has began to bite in out that mid list quite a bit take big chunks out of it because generally if you're a mid list author it is more profitable for you to independently publish than it is to publish with a publisher."
    • Publishers became more focused on "hits" and bestsellers.

Why Choose Indie Publishing?

(00:12:10) Jennifer Peale and Becky Monson's insights on the advantages of indie publishing.

  • Flexibility:
    • More control over publishing timelines, book length, and series length.
    • Ability to target the market quickly and adapt to trends.
    • "Independently publishing if you are indie published one of the things you can do is you can target the market much faster and better you also are flexible in how you publish um you're flexible in determining um you know how long your series is how long your book is you are your soul you are in charge of all of this."
  • Control:
    • Full control over cover design, back cover copy, pricing, and promotions.
    • "You decide what goes on the cover review book you decide what goes on the back summary of your book you decide the pricing of your book you decide when something is up for sale you decide when it's not up for sale you decide what promotions you want to be part of."
  • Money:
    • Authors keep a larger percentage of the revenue (around 70% on many platforms).
    • "When you are self-publishing you keep the lion's share of the money."
  • Accessibility:
    • Indie publishing can provide opportunities to achieve things that are also possible in traditional publishing, such as getting into bookstores, securing movie deals, and gaining recognition.

Strategies for Success in Indie Publishing

(00:22:10) Tips and advice for authors considering the indie route.

  • Platform Writer vs. Rapid Release:
    • Platform Writer: Building an audience through a blog, social media, or other platform before publishing. (Example: Larry Correia)
      • "A platform writer which i think is mostly my term for it others might call it something else is somebody who has a really great platform that draws a lot of attention and they use that as publicity to market their novels."
    • Rapid Release: Publishing multiple books in quick succession to gain visibility and build momentum. (Example: Bella Forrest)
      • "They say that your next book is usually the best piece of marketing you can make for your previous book this stands in traditional publishing as well it is a good rule of thumb that generally making sure your next book is coming out in a timely way is more valuable to you as a marketing tool than anything else."
  • Community Involvement:
    • Join online groups and forums for indie authors (e.g., 20 Books to 50k).
    • Attend conferences that cater to indie authors.
  • Treat it Like a Business:
    • Invest time and money in professional editing, cover design, and marketing.
    • "You must run it like a business you must be willing to put in hours and invest money we'll talk about that in a minute uh you must write a killer book or more than one before you release rapid release can be your friend it gives you more ways to market."
  • Quality Matters:
    • Don't compromise on quality; ensure your book looks and reads professionally.
    • "Do everything you to make sure it doesn't look like an indie book uh this is their their next point this is really important this is the one where most people um mess up you need a really good cover and you have to pay for a good cover."
  • Amazon Exclusivity vs. Going Wide:
    • Amazon Exclusivity (Kindle Unlimited): Offers a better deal and inclusion in the Kindle Unlimited program but limits distribution to Amazon.
      • "If you are willing to sign up for Amazon exclusively you get a better deal um generally um they put you on Kindle Unlimited which is the kind of subscription service on Amazon where people subscribe to it pay a monthly uh fee and then they Amazon pays you based on the number of words they're read."
    • Going Wide: Distributing to multiple platforms (Amazon, Barnes & Noble, Kobo, etc.) for broader reach but potentially lower royalties on Amazon.
      • "Going wide means you're putting it not just on Amazon but on all the different platforms uh which can give you a wider net but a slightly worse deal and not quite as good of marketing uh from Amazon."

Costs of Indie Publishing

(00:25:17) Breakdown of typical expenses for indie authors.

  • Editing:
    • Copy Edit: $0.007 - $0.009 per word
      • "For a copy edit I'll explain these in a second you are looking at point zero zero seven through point zero zero nine cents a word."
    • Content Edit: $0.012 - $0.0125 per word
      • "Content editing you are looking for uh looking at around uh 1.2 cents to 1.25 oh sorry um 0.0125 uh dollars um a word."
    • Proofreading: $0.003 per word
      • "And proofreading is around point zero zero three uh a word."
  • Cover Design:
    • $500 - $2,000+ (depending on quality and artist)
  • Layout (for Print):
    • May be necessary for print books to ensure proper formatting.

Advertising and Marketing

(00:53:34) Strategies for promoting an indie-published book.

  • Social Media:
    • Maintain a presence on platforms like Facebook, Instagram, and Twitter (though effectiveness varies).
    • "They mentioned by the way that Facebook and Instagram works for them and Twitter doesn't work much for them anymore uh I know other people have been very successful with Twitter but uh you're gonna have to you know pick some social media platforms and do a good job with them."
  • Website:
    • Have a professional website to showcase your books and provide information to readers.
    • "Have a professional website yes have a website that looks professional and if you're not going to update it often make it look nice without you know a date saying when things were posted."
  • Blog Tours:
    • Participate in blog tours to reach new readers through guest posts and promotions on other blogs.
    • "They suggest bloggers and blog tours um I have no realistic understanding of how valuable these are a lot of people do them where they all share posts on different people's blogs this is a very common practice."
  • Paid Advertisements:
    • Consider paid advertising on platforms like Amazon, Facebook, and BookBub. (Note: Amazon advertising has become increasingly important but also expensive.)
    • "Paid advertisements we talked about those author cross promotion uh basically um doing events with other authors particularly when you're new I have found to be very effective."
  • Author Cross-Promotion:
    • Collaborate with other authors for joint events, promotions, and marketing efforts.
  • Email List:
    • Build an email list to connect directly with readers and promote new releases. (Considered a highly effective marketing tool.)
    • "Build an email list uh let me emphasize this one um email lists tend to be your best uh marketing tool as long as your email list is a good one that you're not spamming people with it."
  • Conventions and Book Signings:
    • Attend conventions and do book signings to connect with readers and build a fanbase. (Note: These are more about building long-term connections than immediate sales.)
    • "Conventions and book signings to connect with readers and build a fanbase. (Note: These are more about building long-term connections than immediate sales.)"

The Changing Landscape of Indie Publishing

(00:31:40) Discussion of how the indie publishing market has evolved and the challenges authors face.

  • Amazon's Dominance:
    • Amazon controls a significant portion of the e-book market (around 80%).
    • "Amazon controls a significant portion of the e-book market (around 80%)."
  • Pay-to-Play Model:
    • Amazon's advertising platform has become increasingly important for visibility, requiring authors to invest in ads to reach readers.
    • "Amazon charging authors uh to advertise their books on Amazon has become a major source of income for Amazon and in the beginnings of the indie book revolution it was all all of Amazon's recommendations were based solely on what did people who read this book also like."
  • Competition:
    • The indie market is becoming more crowded, making it harder for new authors to stand out.
  • Scams:
    • Be wary of companies or individuals who promise to help with indie publishing but charge excessive fees or offer little value.
    • "There are a lot of scams out there for trying to prey upon indie authors there are a ton of these and one of the best things you can do is remember that um be very skeptical of anyone asking you for money."

Traditional Publishing Contracts and Royalties

(00:35:46) Explanation of how contracts and royalties work in traditional publishing.

  • Advance:
    • An upfront payment against future royalties.
    • "An advance from a publisher is money up front that is a loan against the money that book is going to earn for you over time."
    • Typical advances for first-time authors range from $5,000 to $20,000, often split into installments.
    • "Usually advances for first-time authors are around 10k they range between 5 and 20 okay but last time I saw one of the polls that said what did you get on your first book it was around 10k."
  • Royalties:
    • A percentage of the book's revenue paid to the author.
    • Print Royalties: Typically based on the cover price.
      • Hardcover: 10-15%
      • Trade Paperback: ~10%
      • Mass Market Paperback: 6-8%
    • E-book and Audiobook Royalties: Typically based on net receipts (what the publisher receives after retailer discounts).
      • E-book: 25% of net
      • Audiobook: 25-40% of net
  • Negotiation:
    • Agents negotiate contract terms, including the advance and royalty rates.
    • Authors may have limited negotiating power, especially for their first book.
  • Earning Out:
    • An author must earn back their advance through royalties before receiving additional royalty payments.
    • "Earning out is where your royalties match the amount they gave you up front and then you start earning more money."

The Role of Literary Agents

(00:12:23) Discussion of the pros and cons of working with a literary agent.

  • Pros:
    • Industry Knowledge: Agents have established relationships with editors and know the market.
    • Negotiation: Agents negotiate contracts and advances on behalf of the author.
    • Editorial Support: Some agents provide editorial feedback.
    • Overseas Sales: Agents often handle foreign rights and translations.
  • Cons:
    • Commission: Agents take a 15% commission on the author's earnings.
    • Editorial Control: Some agents may push for revisions that the author disagrees with.
    • Conflict of Interest: In some cases, an agent's financial incentives may not align with the author's best interests.

Conclusion

(01:16:30) The lecture concludes by encouraging writers to consider both traditional and indie publishing options and to do thorough research to make informed decisions.

  • Hybrid Approach:
    • Consider a hybrid approach, pursuing both traditional and indie publishing for different projects.
    • "If I were me trying to break in right now I would try going hybrid meaning I would write some books and I would then decide are these best traditional or these best indie."
  • Research and Networking:
    • Talk to other authors, both traditionally and independently published, to learn from their experiences.
    • Attend conferences and join online communities to stay informed about industry trends.
  • Focus on Writing:
    • Ultimately, the most important thing is to write the best book you can and to keep writing.

The lecture emphasizes the importance of understanding the publishing landscape, both traditional and indie, and making informed choices based on one's individual goals, resources, and preferences.

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Attn Story Hackers: How these notes were created

I saw the post from @alex Lutz referring to Brandon Sanderson's 2020 lecture series at BYU. I'd never run across this, so it was a great new resource for me. Thanks Alex!

I also saw that the series is 13-14 hours total, and I know I'm flawed, inattentive, lazy, and slothful (like all adherents of the Oxford comma cult), so it seemed like a good opportunity to try out some LLM tools to see if I could get a set of lecture notes detailed enough that I could just read those and get most of the pertinent information.

My first thought was to use my local n8n server and copy a reference plan for getting transcripts from YouTube and analyzing them. However, I have not had a great experience with n8n in the past and this time was no different. I originally installed it to use as a quick no-code way to create small private applications for my farm team, but it's been a little fussy from the start. Once I caught myself yelling at the computer, I decided to switch gears and be a little more manual. The n8n solution should have allowed me to feed in the YouTube URLs and get a Discord message with the notes, pretty minimal effort on my part if it had worked.

My next and really only choice for the LLM/interface was through my Google AI Studio account. I wanted to use one of the very large context window models and I particularly like the Gemini experimental 1206 release, which isn't clearly labeled as such but is apparently an updated Flash 2.0 model, released in early December 2024. I've had good luck with it for coding architecture tasks in the past, so I thought it might be good at this kind of relatively formal writing. This model's input context window length through the AI Studio interface is a pretty impressive two million tokens, enough to handle a lot of instructions and an hour long transcript.

To get the transcripts, I probably could have used AI Studio to directly ingest the videos, but because I was still in my troubleshooting mindset from n8n, I used a free online transcript generator. There are quite a few out there, so I don't know if your choice matters, but I used https://notegpt.io/youtube-transcript-generator. Again, this is probably not the best way to do it, but it wasn't much additional work for me, just wait for a few seconds for the transcript and then paste the whole thing into AI Studio.

AI Studio allows you to set custom instructions for the prompt. I started out with some instructions I copied from Daniel Miessler's project, Fabric (https://github.com/danielmiessler/fabric/). Mr Miessler has some pretty cool ideas about how to employ LLMs in your daily life; I recommend checking out his other projects if you have any interest. Fabric is intended as a command line tool to call AI applications that leverage LLMs on text files, using an extensive series of specialized prompts, but you can also go into the "patterns" subdirectory on that github repo page and just directly read the prompts. I tried out a couple and decided that, while none of the really fit the bill (they're more geared towards very brief summaries, even with long input content), this https://github.com/danielmiessler/fabric/blob/main/patterns/summarize_lecture/system.md was the closest.

I used that prompt as a framework and did a little googling to find some kind of guide for a more extensive and detailed note-taking process. I ended up with these as my references:
https://learningcenter.unc.edu/tips-and-tools/effective-note-taking-in-class/
https://www.oxfordlearning.com/5-effective-note-taking-methods/
https://www.student.unsw.edu.au/note-taking-skills
https://lsc.cornell.edu/wp-content/uploads/2016/10/Cornell-NoteTaking-System.pdf

After I made my final prompt (with a little testing on slight variations), I was able to set the prompt as the system instruction in AI Studio and feed it the transcripts one by one, then copy and paste those into my gist. Gemini took about 2-3 minutes to generate each transcript.

Here is the final prompt I decided on:

IDENTITY and PURPOSE

As an organized, high-skill expert lecturer, your role is to extract information from a lecture transcript and provide a detailed set of lecture notes using bullet points and lists of definitions for each subject. You will also include timestamps to indicate where in the video these notes are from.

Before starting, think step-by-step about how you would do this. You will generally follow the outlining method of note-taking, with some modifications, as detailed in the STEPS section below. Here is a summary of the process. First, you will read the entire transcript. Next, you will create an outline listing each major topic, each subtopic for every major topic, and each key point for every subtopic. If the subtopics are further broken down into sub-subtopics, extend the notes' structure as necessary. Then go back over the outline and add one telegraphic sentence to summarize each major topic, one or two telegraphic sentence(s) for each subtopic or sub-subtopic etc., and one to three telegraphic sentence(s) for each key point. Use only as many sentences as you need to capture all of the important information.

HOW TO TELL WHAT IS IMPORTANT

Distinguish between main points, elaboration, examples, waffle or filler, and new points by listening for:

  • introductory remarks. Lectures often begin with a useful overview of the key ideas or themes of a topic. This helps you grasp the big picture.
  • verbal signposts that indicate something important is about to be said. Lecturers often signal key information with phrases like: “There are four main aspects”, “This is important…” or “To sum up”.
  • repetition. Important points will often be repeated, especially in introductions and conclusions.
  • final remarks. Most lectures conclude with a summary, a restatement of the main ideas and an indication of how the topic connects with upcoming material.

STEPS

  1. Fully consume the transcript as if you're watching or listening to the content.
  2. Think deeply about the major topics learned, and what was the most relevant supporting information in the content for each topic.
  3. Pay close attention to the structure, especially when it includes bullet points, lists, definitions, and headers. Ensure you divide the content in the most effective way.
  4. Note each major topic as a headline. Include a timestamp of where it first occurs in the transcript. The timestamp should come from the nearest timestamp at or earlier in the transcript where the topic is first discussed in detail.
  5. Under each major topic, make notes of each of the subtopics that supports it, and sub-subtopics if needed. Include timestamps. Organize this properly with markdown.
  6. Under each subtopic, note all key points or information supporting that subtopic. Do not add timestamps to the key points.
  7. For each key point in the notes, add up to three telegraphic sentences explaining that point and memorializing the key information, based on the lecture transcript and the notes only, without making guesses. Also include a direct quote from the lecture that best explains or defines the key point.
  8. For each subtopic in the notes, add one or two telegraphic sentences defining and explaining the subtopic, based on the lecture transcript and the notes only, without making guesses.
  9. For each major topic in the notes, add one telegraphic sentence defining the topic, based on the lecture transcript and the notes only, without making guesses.
  10. Review and edit the notes for accuracy. If you had not seen the transcript, and only read the notes, could you find every important piece of information in the lecture, including the timestamps for topics and subtopics? If not, identify the area or areas in the notes that lack the relevant information and update that section of the notes to include it.
  11. Repeat the review and edit step 10 until you don't find any missing information from the notes compared to the lecture transcript.
  12. Ensure the notes are formatted according to the OUTPUT INSTRUCTIONS below. If they are not, reformat them and then go back to step 10.
  13. Review the lecture transcript and the notes. This time, look for any words or phrases that were explicitly defined during the lecture, or for which it may be helpful to include a definition. At the top of the notes, add a "Definition" section with each term and definition listed.

OUTPUT INSTRUCTIONS

You only output Markdown.

In the markdown, use formatting like bold, highlight, headlines as # ## ### , blockquote as > , code block in necessary as {block_code}, lists as * , etc. Make the output maximally readable in plain text.

Create the output using the formatting above.

Do not start items with the same opening words.

Use middle ground/semi-formal speech for your output context.

To ensure the summary is easily searchable in the future, keep the structure clear and straightforward.

Ensure you follow ALL these instructions when creating your output.

Ensure all output timestamps are sequential and fall within the length of the content, e.g., if the total length of the video is 24 minutes. (00:00:00 - 00:24:00), then no output can be 01:01:25, or anything over 00:25:00 or over!

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