text:
Is it possible to make a living as a genre fiction writer? Yes it is.
Looking at POD
I've always believed that POD technology is the future of publishing, but that POD vanity press as a way for authors to succeed on their own has limited value.
For the uninitiated, POD is a way to manufacture books one at a time, using a high-tech copy machine. Traditionally, books have been printed on presses. Presses are expensive, large, and only cost-effective when they're printing many copies of a book.
POD as a technology is a good thing.
But then things become tricky.
Many companies have sprung up over the last decade that use POD technology to create books.
But most of these companies thrive by selling dreams to authors, rather than technology.
Publishing is a difficult business to break into, and this is important, because it means the quality of the work that traditionally sees print meets certain standards and criteria.
POD allows authors to bypass this vetting process. As a result, much of POD's bad reputation is justified. I've read hundreds of POD books (don't ask) and the 99% of them aren't very good.
POD also goes against one of the basic rules of writing: the goal is to get paid, not to pay someone else.
The problems with POD as a business model are twofold:
1. Higher prices for a mostly inferior product. The books aren't professionally edited, vetted, or typeset, the covers are often amateurish, and the books usually cost 20% to 60% more than traditionally published books.
2. Lack of distribution. In order to find readers beyond the author's own scope of influence, the book must be widely available. That means brick and mortar bookstores, drugstores, supermarkets, airports, and so on. POD doesn't get into these venues.
That said, I think that POD has some advantages, and I'm impressed by the rapidly evolving technology.
Traditional publishing, as a business model, is outdated and inefficient. Any company that destroys half of what they produce (based on an average 50% sell through) is wasting a lot of money.
Looking ahead, POD technology will probably be fully embraced by publishers. It's already being used for galleys and ARCs. The lack of warehouse fees and shipping costs, and the elimination of returns, could conceivably make books more affordable, as their costs are already built into the cover price.
Plus, the long tail that many authors fear (their rights never reverting back to them because their book stays in print forever with POD) will result in more book sales over the course of their careers. I've got 5000 books in my personal library. About 90% of them are no longer in print. In order to acquire titles I've been looking for, I buy them used. In most cases, I'd love to get a fresh, new copy, which would in turn make sure the author got paid. POD would allow this to happen.
Authors fearing that they'll never get their rights back need to take a reality pill and realize reselling lapsed rights is a rare exception, not a rule. And if an author suddenly becomes hot, and their out of print backlist is worth money, POD production of backlist titles would undoubtedly increase to meet that demand, ensuring royalties. Plus, backlists can be bought and sold.
That said, I'm speaking of POD as a technology used by large publishers, who will be able to keep the costs down, have a vetting process, and make sure the book is professionally produced.
When the author attempts to do these things for himself, the results don't measure up to traditionally published books. Paying POD presses for extra services such as "editing" or "cover design" sucks more money from the author's pockets, but still often fails to produce error-free, attractive books.
But I'm going to try an experiment, because that's the type of guy I am.
For the past few years, I've had a virtual store on my website, for people who want to buy signed copies of the Jack Daniels books. I also sold back issues of magazines and old anthologies I've been in. (Believe it or not, since 2003 I've sold over fifty stories and articles.) I created the store because I got a lot of emails from fans asking me to offer these things. Over the years I've sold a few hundred items.
Unfortunately, many of those magazines and anthologies I've been in are out of print, so the stories are difficult to find.
I collected my old stories, with the intention of getting them published as an omnibus, but I decided not to try to sell it. My reason is simple. Story collections don't sell as well as novels. If I published a collection, those lower numbers will follow me, resulting in lower bookstore orders for my next novel. I don't want that to happen.
I also get a lot of email about my previously unpublished novels---so much so that I made them available on my website as free ebooks downloads. My unpublished technothrillers ORIGIN and THE LIST have been downloaded over three thousand times. Reader response has been surprising, and many folks have told me how much they enjoyed these books, and asked when they'd be published so they could buy hard copies.
ORIGIN and THE LIST already had their shot with big publishers years ago, and big publishers passed. I'm pretty sure I could approach a smaller press and get them published, but like the aforementioned short story collection, those numbers would follow me. A smaller press means a smaller print run and smaller sales which could result in smaller advance orders for my next Jack Daniels book. So I didn't pursue it.
But then I got to thinking.
There are a few POD companies that function simply as printers. You do your own editing, typesetting, and cover art, then upload it to their site, and a week later they send you a printed book. The books are still overpriced, and they still don't look as good as professionally published books, but this still suits my purpose.
So I've just made three titles available on my website. ORIGIN and THE LIST can now be purchased, along with another unpublished novel I wrote called DISTURB. I've also collected fifty-five of my previously published short stories into an omnibus called 55 PROOF, which will be available this Halloween.
You can buy these books for $16 to $19.
You can also download these books for free. I've made them available as pdf downloads. So if you don't want a bound and signed copy, go ahead print them up yourself. The layout is the same.
Because these books are only distributed through me, and because they have no ISBNs, they are off the publishing grid. I can cater to the requests of my fans, without harming my overall numbers.
Since I don't think that the average fan is savvy about POD, or knows the difference between POD and traditional publishing, I've stated on my website what the difference is.
It will be interesting to see how many people download these books for free compared to how many purchase them. It will also be interesting to see if a midlist mystery author, operating solely from his website, can sell his older, out-of-print (or never in print) work in enough numbers for it to matter.
Your predictions?
JA Konrath at 7:54 AM
Robert Burton Robinson 2:41 PM
I think it's a great idea. Too bad you have to worry about the possibility of lower sales numbers impacting future publishing contract offers though.
I have some thoughts to add about authors self-publishing. It is true that a lot of self-published fiction is not very good. But I think the percentage of good self-published fiction would increase dramatically if authors would do the following BEFORE going to print:
- Set up an author website
- Publish at least one of their books on their site:
- Provide a free, downloadable pdf of the book
- Provide an HTML version that visitors can read online
- Get the URL to the author's site added to as many free novel directories as possible
- Optimize the site for the search engines
If, over a six-month to one-year period, many people read the book, and some even rave about it (people who are not your friends or relatives), then consider going to print. If not, it may well be a waste of time and money to print the book. Because how can you expect to get people to buy your book if you can't even get anybody to read it for free?
The above is exactly what I did with my first two novels. My first novel has been downloaded over 3,000 times, and the second one has been downloaded nearly 2,000 times. And the books have been read online, chapter by chapter, by thousands of people.
How do I know they are reading and not just clicking around on my site? When I see someone from a particular ip address browsing Chapter 1, then five minutes later, browsing Chapter2, etc., I figure they are reading the book. With the downloadable pdf, there is no way to know whether they read the book after they have downloaded it. But still - a lot of downloads is better than a few.
So, how are my print books doing? My first three novels are just coming up on Amazon - so, we'll see.
Robert Burton Robinson
Nandini 2:42 PM
Of course, you're experiment is very skewed. The only people who know about it are reading this blog, which means they're on the internet, which will make it far more likely that they will download for free rather than pay $18-24.
I think a more balanced experiment would be one where you charged a certain amount of money for downloading itself. From my limited research (Lulu.com), printing and shipping a paperback ends up costing around $12. So I'm assuming the $6-12 you're adding on top of it are supposed to be your royalties? Why not charge that very sum for downloads?
Natasha Fondren 3:02 PM
No predictions. I'm watching, fascinated.
I do have a friend who was published in the same tiny niche as my pseudonym. She hasn't written in about three years but she makes a nice, solid chunk of money every month from ten or so novellas whose rights have reverted back to her. She uses Lulu, which I think is a very fair POD publisher.
BUT, she doesn't offer them for free. I know your stance on this and you've almost convinced me, but ... are people really going to buy it, if they can download it for free?
It's just, your scientific experiment leaves out that little thing, and it could make a huge difference. A three thousand difference, LOL.
Mark Terry 3:34 PM
Interesting. You might check out the publishing history of John Scalzi, who originally published a novel online, but it was so successful it got picked up.
Keep us posted. It's an interesting idea.
JD Rhoades 4:03 PM
Joe: Thanks for a very reasonable analysis of POD, including its up- and downsides.
Prediction? I think some people will pay for the convenience of having a bound book (especially those with slow or expensive-to-supply printers). Don't know that they'll pay 18-24 bucks for that convenience.
I like reading novels. I dislike reading them on my laptop. Therefore, if I "try before I buy," I might read a few chapters of the free book and then decide I like it enough to buy the bound book. Then again, I might not like it enough. That's a chance that Joe is willing to take which I think it commendable.
Maria 4:23 PM
Excellent column and I hope you let us know the results. Holly Lisle has made a couple of her novels that went out of print available via POD (I think she used LuLu also and when fans asked her to lower the price, she went in and made some changes to fonts and whatnot to get the novel onto few pages so that it cost less.) I don't know how her sales are going.
I would also like to say that "The List" is a wonderful book and I enjoyed it thoroughly. I'm glad you're making it more widely available. I know there are people that will not read online; now they can buy the novel!
I think it's a great experiment.
Author Lynn Viehl also likes to self-publish e-books etc. and sell them for free as a way of keeping her fans (she writes in many genres) satisfied.
Well considered, interesting idea. I'll be watching to see the outcome.
Jude Hardin 9:11 PM
I don't know, Joe.
I think you might risk tarnishing the brand you've worked so hard to build by putting actual trade paperbacks out in the universe that haven't been professionally edited and are of dubious physical quality.
The people who buy them right now know what they're getting, but like a lot of books (even signed ones) many these things will end up at garage sales and flea markets and the racks at the Salvation Army for fifty cents.
The people who buy those books will associate JA Konrath with cheap, poorly-edited work. The people who buy those books might never discover your beautiful Hyperion titles, because they won't go looking.
I'm not saying you're not a good self-editor, but, let's face it, every writer benefits greatly from the right editing team.
Just yesterday I was reading about the massive changes Max Perkins made to The Great Gatsby. Most of us would agree Scott Fitzgerald is a fine writer, but it would have been a completely different novel without the editor.
Stacey Cochran 10:35 PM
My prediction: more traditional publishers will embrace POD for first-time authors.
But the big juicy gossip rolling around the internet in the past week is that Rupert Murdoch made an offer to acquire Lulu.com, and Lulu's founder said "No, thanks."
In turn, Murdoch (head of NBC, News Corp., etc.) started his own company...
You can't make this stuff up.
And so now Lulu's founder is suing.
POD is here to stay. For the nut jobs who think companies like Lulu are scum, they're like the morons who stood around and said, "Those crazy Wright Brothers think people will fly in a plane!"
POD has already spread to DVD production, music distribution, posters, stickers, T-shirts, coffee mugs -- just about everything conceivable.
It's simply a better business model.
Check out my POD DVD at Amazon.com "How to Publish a Book, How to Get a Literary Agent
Jude Hardin 11:11 PM
If I were interested in self-publishing (which I'm not), I would choose an outfit like Lulu because there are little or no upfront costs.
Still, it's essentially a vanity press. If you can get a million writers to sell a hundred books each, and your company gets three dollars for each book...well, do the math.
Traditional publishers might very well use POD technology eventually. If the end result is similar to offset, it only makes sense to use the cheaper route. But, to offer a quality product, they'll still need editors, cover artists, marketing experts, etc.
No man is an island. Many hands are involved between raw manuscript and hardcover on the display table at B&N. The business model itself might be bitched up, but I still believe the process of separating the wheat from the chaff with agents and editors mostly works.
Dusk Peterson 2:58 AM
I'm having a hard time figuring out whether, at the beginning of the article, you're talking about the drawbacks of self-publishing, self-publishing through POD, or subsidy publishing through POD. You blend all of these together, and they're really three separate topics.
POD can be used by traditional presses, it can be used by subsidy publishers, or it can be used by self-publishers. Self-publishers can use POD, or they can use offset printing. Self-publishers can use POD by middlemen presses such as Lulu (in which case, the middleman jacks up the book price for his services), or they can use the same POD presses that publishers use (in which case, the books cost no more than they would cost a publisher).
Incidentally, POD books do get sold in bricks-and-mortar bookstores, or traditional presses wouldn't bother to use the technology. Most self-publishers, though, depend on online bookstores for their primary sales.
"they still don't look as good as professionally published books"
Well, they do if they're done by professionals. :) My father, who is a book designer, can tell the difference between a POD book and a book produced by offset printing, but you need a good eye for that sort of thing. There's no significant design difference between the technologies. What you're talking about is the limitations of self-publishing without being a professional designer, and those same limitations would hold if you were doing offset printing.
So let's separate the technology from the self-publishing issue, please. POD is, as you say, a technology that is sometimes used by traditional presses. It has its advantages and disadvantages over offset printing. But one thing it cannot do - any more than offset printing can do this - is design a book by itself. That's up to the designer, and the old "garbage in, garbage out" principle holds here.
That is why, alas, most subsidy press books are poorly done - because most subsidy presses hire poor designers. Some self-publishers, on the other hand, are talented designers. So it's just a matter of what skills one possesses when deciding whether to self-publish.
All the best with your latest venture - I'll look forward to seeing how it goes.
Lee Moan 10:54 AM
Love the blog, Joe. And I'm enjoying Whiskey Sour at the moment, which I downloaded recently for free. (Your books are not so easy to locate here in England, at least in bookshops, anyway.)
Very interesting experiment. I look forward to seeing how many people buy the POD copies.
This may be a little off-topic but I thought I'd throw it in anyway: I've used Lulu a couple of times in the past but only to print a single copy of my book/novella. However, I have never made any of my projects available to the public. This is so I can have a nice paperback copy for close friends and family to read for feedback purposes, before I approach traditional publishers. I thought this would be nicer than them lugging a chunky manuscript around. In other words, I use Lulu's technology for my own ends. And why not? The technology is there, so I say use it in whichever way suits your needs.
"POD is here to stay. For the nut jobs who think companies like Lulu are scum, they're like the morons who stood around and said, "Those crazy Wright Brothers think people will fly in a plane!"
Stacy - come on, man. You're comparing POD to man's quest to fly? And I don't think Lulu is scum...but it isn't publishing. It's printing. It helps people become self-printed. Saying one is self published makes about as much sense as a 15-year-old high schooler pounding away in the bathroom to his Mom's Redbook Magazine, then coming out and bragging that he just got laid. It takes more than one person to publish a book.
You can stop all the cynicism against companies like Lulu right now. Want to know how? Numbers....show us how many copies a typical Lulu title sells. Show us how many reviews a typical Lulu title receives. How much $$ does a typical Lulu author earn. How many bookstores (without the author having to do an event there) purchase a typical Lulu title.
I've heard you yelling at the top of your lungs about Lulu for a long damn time. It's time to put up.
Stacey Cochran 11:12 AM
The last figure I heard from inside Lulu was over 3 million dollars have been paid out in royalties alone.
That's a 3 followed by six 0s, as in
I made close to $400 personally just last week in three events I did at 1) a library, 2) a Borders bookstore, and 3) speaking to a readers group.
Here's a Photo I just took of the money from the Borders Event alone
howtopublishabook.org
Again:
How many copies does a typical Lulu title sells?
How many reviews does a typical Lulu title receives?
How much $$ does a typical Lulu author earn?
How many bookstores (without the author having to do an event there) purchase a typical Lulu title?
This figure means nothing without knowing how many authors Lulu has printed.
JA Konrath 12:29 PM
Some interesting things being said here.
Because how can you expect to get people to buy your book if you can't even get anybody to read it for free?
That's a good point. I'm a fan of writer's groups, which is a form of editing. Putting something online and letting people have at it is a good way to not only catch typos, but to get suggestions on plot, structure, characerization, etc.
I think a more balanced experiment would be one where you charged a certain amount of money for downloading itself.
If publishing is indeed following the trail blazed by the music industry, then people are going to wind up getting books for free. The ereader equivilant of an iPod hasn't arrived yet, but when it does, it will hurt print books.
Until that day, charging for downloads when people don't have a regular ereader doesn't make sense. Too many people have never read a whole ebook, and the majority of those who download mine still print up copies. I don't think charging folks will work.
The people who buy those books will associate JA Konrath with cheap, poorly-edited work.
Don't sugar-coat your feelings, Jude. Be honest. :)
I think editing is an essential part of the publishing process, but you have to be more specific in this case on what you believe an editor does.
Is an editor someone who cuts fat? Improves plot and characterization? Catches typos? Incorporates her ideas so the sum is greater than the parts?
What if I said that on my last two books, my editor gave me suggestions that took less than an hour to follow? Would that make those books poorly edited, even though my last one sold the best and garnered the more favorable reviews than the first three?
And of course, I'd have to ask if you've bought and read the latest versions of Origin, The List, and Disturb, so you can give concrete examples of how they're dubious, cheap, and poorly edited.
I see what you're saying, and understand it. And maybe, indeed, these books are so crummy they never should be published. But should you leap to that conclusion without evidence?
I don't think so, Stacey. When POD is embraced by publishers, it will be for a sure seller--someone with a built-in audience--which will guarantee limited returns.
Unless, of course, POD becomes the standard but distribution and return policies don't change, which could happen.
I'm having a hard time figuring out whether, at the beginning of the article, you're talking about the drawbacks of self-publishing, self-publishing through POD, or subsidy publishing through POD.
While those who self-publish using offset presses have many of the same challenges as those who use POD, there are some major differences.
POD allows a person to self publish a book without ever leaving their desk. There's no searching for a printer, getting comparable quotes, talking with professionals on the variations in font, typeset, paper stock, size, covers, etc. There's no researching how to get an ISBN, or get picked up by a distributor.
POD is one step shopping, where so much is done for the author that there is no learning curve.
I've judged contests with self-published books. In almost every case, the one who went with offset printing had a better looking and better reading result than the Xlibrises, Authorhouses, and iUniverses.
Incidentally, POD books do get sold in bricks-and-mortar bookstores, or traditional presses wouldn't bother to use the technology.
I think the article is pretty clear that I'm referring to the big POD vanity presses. Do some iUniverse titles get into stores? Sure, if the author pays, or does it himself.
I don't have to pay or make any extra effort to get my JD books distributed and put on bookstore shelves.
And I don't think Lulu is scum...but it isn't publishing. It's printing. It helps people become self-printed.
I'm going to agree here. With these three old titles,I've basically taken some manuscripts to Kinko's. In fact, in the intro to each of the books, I state that these books haven't technically been published, even though the reader is holding a printed copy.
I've used Lulu a couple of times in the past but only to print a single copy of my book/novella.
And you know what? I think that's a great use for it. If you want something to give to family and friends, or you have something of niche value (Dad's memoir, Grandma's recipes) then it's a great idea.
As a business model for new authors, I remain unconvinced.
Lulu.com's website boasts on its homepage: "Products from a million creators."
So it looks like each one made three bucks.
Allison Brennan 12:42 PM
There is absolutely a place of POD in the marketplace. But it's not going to replace traditional printing for the majority of books in print.
Even with a 50% return rate, when you're getting into 100,000 print run and selling 50-60K, printing 50-60K with POD technology would be a huge, cost-prohibitive and timely endeavor. It would be far cheaper to print 100K in mass market and pulp half of them.
Frankly, I think when print runs exceed 5,000, POD isn't viable.
I think the number is even smaller, more like 1000.
But how long do you think that will last?
Since POD is a technology, it follows the same rules that all technology follows, namely: it will get cheaper and faster and better.
It will be interesting to see what happens ten years from now.
Meant no disrespect, Joe. That's why I used the Gatsby example. Great writer + Great editor = great book.
Anyway, good luck with the POD thing. I do think putting the short story collection out that way is a good idea.
Putting something online and letting people have at it is a good way to not only catch typos, but to get suggestions on plot, structure, characerization, etc.
I didn't know you were still open to suggestions on those books. When I read Origin, I had some extensive changes in mind. I wouldn't mind taking a crack at it, but I want co-authorship. :)
Best wishes with your collections, JA, because I think if anyone can make self-publishing or POD work for them, you can.
Distribution is the biggest drawback to self-publishing. It's a hurdle next to impossible to clear, even for experts, and distribution is conventional publishers' biggest advantage. There's just no getting around that.
POD costs and pricing still need work. The logical interim step, in my opinion, is ebooks, but that technology currently has drawbacks too.
I used to supervise distribution of non-commercial technical manuals. When we decided to go POD, in order to offset the increased cost of POD printing we encouraged use of digital formats as much as possible. In a perfect world, for technical data that would eliminate paper except where it's necessary for large foldout illustrations and complex wiring diagrams. Convincing customers to go digital was another matter. At one point we had people trying to print out PDF ebooks rather than reading them in digital format or having us POD print them, and that cost even more than POD printing.
My prediction -- I like to cozy up with something light and portable to read fiction. I don't want to spend my pleasure reading time in front of my desktop computer or holding a heavy (and hot, in summer) laptop. POD books tend to be heavier than mass-market paperbacks, which I prefer when flying, carpooling, or reading in bed. I would love to see handheld ebook reader technology priced to appeal to readers on a budget who are used to buying mass market paperbacks. Why should I pay $100 (let alone $300!) for a special reader, and also pay hardcover prices for the ebooks to read on it? Commercial publishers still treat ebook technology as a novelty, rather than pricing ebooks realistically and passing on some of what they save on digital format to the customer.
We need a durable, legible, standardized handheld digital reader, so durable it doesn't fill landfills as quickly as cell phones already do, made of recyclable materials, and priced low enough that anyone on a budget can afford one. I've owned the same bedside lamp for thirty years. I'd love to see an ebook reader that would last half that long, with ebook formats as standard as light bulbs and priced equivalent to mass-market paperbacks or better. A publisher could start the pricing of a new book comparable with the hardcover, with a discount at least reminiscent of what's saved by not printing, and once sales drop off lower the price to be more indicative of mass-market paperback prices, sans printing costs. When that happens, we'll have a technology readers will embrace. Otherwise, readers on a budget will continue to prefer mass-market paperbacks by known authors -- or just watch bad TV or surf the Internet.
As for self-publishing, I'm a self-published fiction writer. It's not my end goal, just a step I've taken along the way. I self-publish in order to get name recognition prior to conventional publication, which I still hope to achieve, and to have the satisfaction of people actually reading what I write rather than having my best work so far languish in a box in my attic. Much of my work still sits in the attic. I only self-published my best unsold work, with one novel for sale in ebook or paper format, and another as a free ebook on my website.
I've seen some snobbery toward self-publishing, but mostly from other writers who've come to fear it because there is some really bad writing out there being vanity published by people who think a first draft is a finished book. It should go without saying, but it doesn't always -- writing is revision and editing too. I haven't encountered any bias from readers. If they can find my work, which is the biggest drawback to self-publishing, they read it without comparing publishing methods, and they judge it on merit alone. Self-publishing is hard work, and it's been a norm among poets and visual artists for a long time. I think the bias I've observed is partly an overlap of prejudice against vanity publishing. Should new writers go through vanity publishers? No, I don't think so, but it's their right, and we've all at some point let our dreams outstretch us. We make mistakes, we learn from them, and we move on.
I don't think low sales of self-published work should be considered in deciding whether to conventionally publish someone, though. It should be obvious to conventional publishers that they have the cornerstone on the step in publishing with the biggest payoff -- distribution. If they can't see that, it's just wrong-minded.
I've learned a lot from self-publishing, but I'm less eager to self-publish again without first making many more submission rounds. Self-publishing isn't writing, and it's a lot of work. I'm a writer. I'd rather spend my time and energy writing, or selling my books through an efficient distribution channel that can reach readers, as provided by a good publisher, than spend any more energy self-publishing.
What if I said that on my last two books, my editor gave me suggestions that took less than an hour to follow?
A good editor also knows when to leave things alone. After WS and BM, you probably knew JD and crew like the back of your hand. That's where good writing comes from, I think. Knowing the characters inside and out.
You already know how much I liked Dirty Martini. The plot is fine, but what you're really nailing now is Jacqueline Daniels' character. It makes all the difference, IMHO.
I wouldn't change a thing in DM, btw, except maybe that Justin Buchbinder scene. ;)
The perfect ebook reader will:
Be backlit.
Be light-weight.
Have at least a 4"x6" screen.
Have adjustable font size and style.
Have a long lasting rechargable battery.
Be able to download content from the Internet wirelessly.
Be waterproof.
Be scratchproof.
Cost less than $100.
Have room for 50+ books.
Be upgradable.
Make books interactive to some degree.
And, as I envision it, be a pleasure to hold an manipulate, which means it might be flexible, with a very simple user interface.
Allison Brennan 12:40 AM
Joe, I don't like reading ebooks at this point, but I'll never say never--I got a video iPod and didn't realize how much I LOVE watching television shows on it. I gave up tv for years to make time for writing, and I'm catching up on all these great shows I've missed. So I could see myself--with the right equipment--downloading books.
Right now, though, I'm sure the big sellers are doing okay on ebooks, but they are less than .1% of my total sales and sort of off my radar screen for the time being.
Darryl Sloan 6:47 AM
Great experiment. I'll be interested to see the results later.
The only thing I would add is that you could have significantly reduced the retail price of your books by dealing directly with the printing firm Lightning Source, instead of dealing with Lulu/AuthorHouse/iUniverse, etc., all of whom use Lightning Source as their printer. I'm able to offer my novel for a startling $7.99.
Darryl Sloan
http://www.darrylsloan.com
Maya Reynolds 2:22 PM
Joe: Sorry I'm coming late to the discussion. I've been busy promoting my first release--and using all that generous advice I've collected from this blog over the last two years. Thanks.
I'm pleased to see you talking about POD as a technology, not as a business model or--worse yet--as a synonym for self-publishing.
I agree that you have nailed the two biggest drawbacks to self-publishing (high prices and lack of distribution). I would, however, break your price argument down further to include a third obstacle: lack of a system to vet for quality.
Right now, there is a two-tier system to vet for quality. Agents filter out the dreck for publishers, and publishers serve as the filtering system for the two biggest markets (bookstores and libraries). Until self-publishing comes up with a reliable filtering system, it will not gain widespread acceptance.
I think publishing will continue to evolve with POD technology becoming the province of booksellers like B&N, Borders and Amazon rather than publishing houses like S&S or Random House. It will enable backlist books to be almost instantly available either online or in bookstores.
The true beauty of the POD model is that a book need not be printed until there is a demand for it. Therefore, it eliminates the need for warehousing or returning unsold stock. If B&N or Amazon waits until a reader requests a book, the sell-through percentage would be 100%. With a POD machine on site in your local bookstore, the reader could be guaranteed a book in fifteen minutes (see the Espresso machine on public display at the New York Library if you don't believe me).
Obviously, with well-known authors or guaranteed best-sellers, the traditional offset press model is less expensive on a per copy basis.
What will be interesting is to see if the line between bookseller and publisher blurs with companies like Borders offering to be both the publisher and the distributor for newbie writers and midlist folk. Certainly publishers are already blurring that line by digitizing their stock and making it available for sale on their in-house websites.
You mentioned Chris Anderson's long tail theory in your original post. You might find it interesting that Chris is working on a new book called "Free" in which he presents the argument that books in the future might be printed either with ads or without ads. The "without ads" model would sell the way books do today. The "with ads" model would be available for free.
Thanks as always for a great blog with interesting topics.
apolicastro 12:41 PM
You are correct about mainstream publishers finally adopting POD as a viable alternative to the current publishing model. Eventually, it will happen out of necessity. It just takes one to break the ice and the rest will follow.
I have heard about POD and the Long Tail over and over from a lot of blogs particularly Joe Wikert's Publishing 2020 Blog. Joe is Vice President and Executive Publisher in the Professional/Trade division of John Wiley & Sons, Inc. and he talks about the benefits of bookstores using POD at http://jwikert.typepad.com/the_average_joe/2007/09/the-brick-and-m.html
Take a look, you'll find it interesting.


text:
Orderly Brexit required: egos need to be parked
Martin Tripp 10th July 2018
BusinessComments Off on Orderly Brexit required: egos need to be parked
For a moment, there was clarity. And then, it was gone.
A very serious contender
A few weeks ago, we noted that the challenge for business is not Brexit, but uncertainty. At that time, we called for business leaders to make their positions clear. In due course, the heads of Airbus, BMW, and many other businesses stepped up. To be fair, they were probably responding to the comments by the outgoing head of the CBI, which prompted our blog, rather than to us. But we like to dream.
Let's be clear: the deal proposed by Theresa May last Friday would have been at best partially good for our clients rather than wholly brilliant. After all, services were excluded from the customs arrangement she had suggested, and our clients are largely in the services sector (digital media, entertainment, SaaS, training, etc). While they may have faced tariffs, depending on later individual trade agreements, this was sweetened by the beginnings of a framework for modified free movement of EU citizens to work, which is critical to their sectors. Meanwhile, the proposal on free movement of physical goods would have kept supply chains and food supplies moving. That is a good balance to strike. The May proposals were a sensible and broadly supportable solution to an intractable conundrum: how do you exit the largest free trade arrangement in the world without killing your economy?
Of course, there was no guarantee that the EU would agree to this set of proposals. But, as the Brexiteers keep saying, the negotiating government needs at least to present a united front to ensure those negotiations stay on course. By resigning, David Davis and Boris Johnson have already torpedoed that sense of consensus.
Worse, though, is what this harbingers. However much the May proposal was a compromise (and any deal will be), the country has experienced more than two years of economic uncertainty based on the referendum result. This followed eight years of lo-yo* performance since the financial crisis of 2008. The UK can ill-afford another few months of no-confidence votes, inconclusive elections, and dithering on the Brexit negotiations. 'Brexit day' is due in eight months.
There is an old joke about a stranger, lost, coming across an ancient local, and asking how to get to such-and-such a place. The old man pauses, and says: "well, I wouldn't start from here…" What the rebel members of the May government and other Brexiteers fail to acknowledge is the forty years of history that has brought us to where we are. To unwind that completely in a short time would be disastrous. Further, to ignore the reality that the complexities of implementing Brexit were hugely underestimated by all parties is disingenuous. None of it is where we would have wanted to start, but it is the reality of where we are.
It is clear that an ideological pursuit of a 'pure' Brexit in which business can go hang is no solution to any of the country's ills. And it should always be remembered that, in losing Boris Johnson, the government has lost an intemperate foreign minister who said "f**k business" when told about the Airbus concerns. That is no loss at all.
The UK economy on all sorts of measures is growing slower than its counterparts in Europe and the US. It will slow even further unless there is unanimity. It needs to put the farce of "Brexit Bulldog" David Davis and the cavalier Boris Johnson behind it, and get on with some realpolitik.
Yes, the May proposal is a fudge. But it did at least appear to be a workable framework towards an orderly Brexit which might provide some clarity for business. It is for now the best option we have, and far better than the chaos that undermining it will bring.
Let's hope that further acts of bravado by ego-centric politicians will not further undermine an already shaky framework.
*I thought that lo-yo was a recognised economic term, but it seems I made it up. I meant it to refer to an economy which is rising and falling as events change, but consistently performing at the lower end of expectations.
Martin Tripp
martin@trippassociates.co.uk
Martin Tripp Associates is a London-based executive search consultancy. While we are best-known for our work in the TMT (technology, media, and telecoms) space, we have also worked with some of the world's biggest brands on challenging senior positions. Feel free to contact us to discuss any of the issues raised in this blog.
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One of the establishments which I always pass by when I head over to Mineski or Hot Star happens to be Engine 46. What finally caught my attention was their buy one take one promo.
I find their process to be more similar to fast food restaurants since you order your food at the counter.
We availed of the buy one take one pizza promo and ordered the tomato and basil pizza and the Engine 46 Special pizza for P390, both are sized twelve inches.
Just as the name suggests, the tomato and basil pizza is topped with tomato slices and basil.
The Engine 46 Special Pizza is choke-full of toppings such as onions, bell peppers, mushrooms, olives, pepperoni, ham and ground beef. This pizza surely satisfies the tummy thanks to its variety of toppings.
The restaurant observes self-service so you can expect that there is no service charge.
Engine 46 is located at 318 F.B Dela Rosa Street Cor. Katipunan, Loyola Heights. You may find them right below Hot Star and Jugo Bar which is right across Neptune's.


Barcoding Frequently Asked Questions (FAQ) - The Barcode Experts. Low Prices, Always.
See our help section for information about BarcodesInc ordering and policies.
Do I need a UPC number?
How do I get a UPC number?
How much does a UPC number cost?
What is a UPC barcode?
Can I print my own UPC barcodes?
A barcode essentially is a way to encode information in a visual pattern that a machine can read. The combination of black and white bars (elements) represents different text characters which follows a set algorithm for that barcode type. If you change the sequence of elements you get different text. A barcode scanner reads this pattern of black and white that is then turned into a line of text your computer can understand.
Is the price of my item in the barcode?
A barcode can hold any type of text information you encode but with product labels the price in not usually encoded. The barcode will denote what product it is and your POS software or database will have pricing information associated to this.
What is a 1D (linear) barcode? What is a 2D barcode?
A 1D (linear) code is the typical "picket fence" style barcode that people are most familiar with. There are several versions of 1D codes and some encode only numbers while others can encode any keyboard character. All the information in the code is organized horizontally from left to right. These types of codes can be read by any type of barcode scanner. 2D barcodes are a bit more complex as they organize information vertically and horizontally. This allows 2D codes to hold much more information and take up less space than a 1D code. 2D codes require an imager scanner to be read properly.
How many characters can fit into a barcode?
Depending on the specific barcode type, 1D barcodes can have from 20-25 characters while 2D codes go up to 2,000 characters. The main practical concern is that as you increase the amount of information in the barcode the bigger it will become. This is especially the case with 1D barcodes and in use most people encode 8-15 characters.
What is the barcode on a driver's license?
In the United States, driver's licenses use a PDF417 stacked 2D code.
How small can I make a barcode?
Barcodes can come in a wide range of sizes and can get down to a 1/8th inch square when using a 2D code. However, there is a trade off since making such a small code will limit the amount of characters you use and will require a high resolution label printer to ensure the quality of the print is still readable by a scanner. The smaller a code becomes the more difficult it is to read.
If you sell products to a distributor or a retailer, you will typically need a UPC barcode. If you are not sure, it is best to contact the company selling your product to find out their policy on UPC barcodes. When you obtain your UPC number, you will also get a certificate authenticating your number. Most retailers require proof of the certificate to verify that your number is unique and authorized.
Only GS1 US can issue you a globally unique "GS1 Company Prefix" that is used to create UPC numbers.
The fee is determined by the number of unique products you need to identify and as well as gross sales revenue.
Because the prices vary so greatly, only GS1 can give you an accurate cost for this.
The UPC number itself is referred to as the GTIN (Global Trade Item Number). The GTIN is made up of two parts: The UPC Company Prefix and the number that you have assigned to that unique product.
This first component, the UPC Company Prefix, is between 6 and 10 digits long, and is assigned to you by GS1. The number of digits is determined by how many products you will need to assign numbers to. So if you have thousands of products, your company prefix will need to be fewer digits. If you have just a few products, your company prefix will likely be closer to 10 digits long. This company prefix number will represent you as the manufacturer on all of your products, as well as in any EDI (Electronic Data Interchange) applications.
The second component is your unique number used to reference a specific product. It is called an "Item Reference Number." This number is not assigned by GS1- it is up to the manufacturer to assign the unique Item Reference Number for a given product.
The last number is a check digit calculated from the previous 11 digits. It is not randomly assigned. The barcode label printing software you use to create your labels will calculate this check digit for you. You can contact BarcodesInc for help with selecting a label printing software to meet your business needs.
Yes! Once you have your unique GS1 number, contact BarcodesInc for assistance with selecting a barcode label printer, barcode software, and barcode labels.
What is the difference between direct thermal (DT) and thermal transfer (TT)?
Direct thermal is a printing process that uses a label coated with a heat sensitive layer and does not use ribbon/ink to print. An image is burned into the paper where with thermal transfer you use a ribbon to print onto the label. Direct thermal will fade over time (aproximately 1 year) and is not a good choice for environments with higher temperatures or exposure to sunlight. Thermal transfer print is a more permanent solution and will not fade.
DPI stands for Dots Per Inch and is a measure of a printer's resolution. The higher the number the finer the print will be. Most applications are suitable at 203 dpi but in cases where logos/images or very small labels are being made you will want 300 or 600 dpi.
How many labels are on a roll?
The number of labels per roll will depend on how tall the label is. The shorter the label the more you will get per roll.
How do I make a barcode label?
Once you have a barcode label printer and media you will need barcode label design software to create and print a label. In this software you can place barcodes, text, and images to fit your design requirements and then send the print job to your printer.
A dispenser is an accessory feature available on most label printers that will peel the backing off of the label as it comes out of the printer. This is very useful for applications that will apply the label immediately after print since it saves time for the user. It can also be disabled if not needed.
What is the difference between 'desktop' and 'tabletop' printers?
Label printers are divided into two categories based off of their size and maximum print duty cycle. Desktop printers are smaller and best for low volume applications such as office labeling or a small retail store. Tabletop printers are meant for making hundreds or thousands of labels daily and are physically more robust to handle harsher environments.
How does a barcode scanner work?
A barcode scanner picks up the alternating black and white elements of the barcode which follow a specific algorithm that is turned into a corresponding text string by the scanner. This information is then sent over to your computer by the scanner no different than a standard keyboard does. This string of text will populate where ever your cursor is on screen at that time.
Do I need any special software to use a scanner?
Barcode scanners do not require any special software or driver to function properly. They will emulate a keyboard and will be recognized by your computer as a general input device.
How far is the range of a cordless barcode scanner?
The range of a cordless barcode scanner does vary by model but most units use Bluetooth (Class 2) technology and have a range of 33 feet. Some of the rugged barcode scanners will use Class 1 Bluetooth which has a range of over 300ft.
Can I read a barcode off of a screen?
In order to read a barcode off of a screen you will need to have a 2D imaging scanner as it processes images as opposed to reflected light. A standard laser barcode scanner will not be able to read anything from a screen.
Is a laser scanner dangerous?
Barcode scanners use a Class II laser which is not harmful to your body or eyes.
How long is the cable on a scanner?
Most barcode scanners come with a 6 foot cable but longer lengths are available for many models.
Can my scanner read a 2D barcode?
2D barcodes do require a specific type of scanner called a 2D Imager. The common laser barcode scanner reads codes by reflecting light from the black and white lines of a barcode and since the laser is a single line it only reads horizontally across the barcode. An imager takes a picture of the barcode and analyzes this to decode the information. Since 2D barcodes data are organized vertically and horizontally only an imager can properly decode all the information.
Does a mobile computer come with software?
Similar to a regular computer, a mobile computer will have an operating system installed on it but not any additional software. There is a wide range of compatible applications you can install on a device for specific functions such as asset tracking, warehouse management, mobile POS, etc.
802.11a/b/g/n is a wireless communication protocol that is commonly called Wi-Fi. Units with this capability can access a wireless network just as a PC or laptop.
How is Windows Mobile/WindowsCE different from Windows 7/Vista?
The mobile operating systems are distinct from Windows 7/Vista and though they have a similar layout, applications for one will not be compatible with the other. For example, there is a version of Excel that will run on a Windows Mobile device but this is not the same software you have on your desktop PC.
What does WAN mean? How are GSM/HSPA and EVDO different?
WAN stands for Wide Area Network and is the wireless communication mobile phones use. In the United States we have 2 types of WAN technologies available: GSM/HSPA and EVDO. GSM/HSPA uses a SIM card and service is provided by AT&T and T-Mobile primarily. EVDO does not have a SIM card and service is provided mainly by Verizon, Sprint, and Alltel.
Batch refers to collecting data on a mobile device and storing it into memory on the device. In this case you are not sending information in real-time on a network but rather storing data on the mobile device and later uploading it to a computer via a wired connection as one batch of data.
Can I get online with a mobile computer?
Mobile computers offer 2 ways to get online either with Wi-Fi (802.11a/b/g/n) or through a cellular provider's WAN (wide area network). As long as you are within the coverage of the network and have permission/service to join you can gain access to the Internet.
What factors should I consider when buying an ID Card Printer?
Volume: How many cards do you plan on printing?
Printing Capability: Do you want to print on one side or two sides of the card?
Printing Technology: Can your card have an unprinted border around the card or do you need "over the edge" coverage?
Security: Do you need lamination for security and durability?
Encoding: What technology do you plan on using with the ID card Magnetic stripe, SmartCard, or UHF RFID?
Does my choice of printer differ based on card volumes?
Yes. The cost and capability of a printer will change based on the number of cards you intend to print.
Value – The most economical of the ID Card printers. With a limited footprint and scaled down capabilities, this printer is perfect for small printing jobs and jobs on-the-go. Printers in the category are perfect for print volumes under 1,000 prints.
Standard – A step up in design and printing capabilities, this class of printer offers a reliable print output with a moderate footprint. Printers in the category typically can handle 1,000 – 10,000 prints and are perfect for small and medium businesses.
Premium – The most robust printers in the industry. These printers tend to occupy a larger footprint and typically offer more options for lamination and printing technologies. Printers in the category typically can handle a volume of 10,000 – 25,000 prints and it designed for high volume and high security requirements.
Do I need a single or dual side printer?
What is the difference between Direct-to-card and Reverse transfer?
Direct to Card is the most common card printing technology which heats a print ribbon beneath a thermal printhead. Color is transferred to a blank card, and the images have sharp edges, deep blacks and a full spectrum of colors. There is an unprinted border around the card as printing close to the edge can cause expensive printhead damage in DTC printers.
Reverse Transfer is less common than Direct to Card and transfers an image to a retransfer film. This film is applied to the blank card which provides "over the edge" coverage and vibrant, durable print.
Do I need lamination for my ID Cards?
Durability: Lamination provides extra durability for standard ID Cards. Purchasing a printer with a laminating option is ideal for cards in harsh conditions/environments and situations where continual use provides excessive wear and tear on the cards.
What encoding options do I have for my card?
Magnetic Stripe: This type of card is capable of storing data on a band of magnetic material. The magnetic stripe (also known as swipe card or magstripe) is read by physical contact when swiped past a magnetic reading head.
Contactless Smart Card: These contain a re-writeable smart card microchip that can process and store data. They communicate with a terminal via radio waves with a read range of up to around 5 in.
Gen 2 UHF RFID: RFID cards store data that can be read through radio waves at wider read ranges (typically 3 to 10 ft.), allow multiple card reads at the same time and are extremely secure.
What else do I need besides a printer?
A printer by itself is only one piece of the entire solution. To complete the puzzle you will also need the supplies, software, and accessories for your printer. We offer a large selection of printer ribbons, ID Cards, software, and lanyards and badges for your solution. You can also let us take the guesswork out of the equation. We offer ID Card Systems which contain the printer, the software, and accessories for your ID Card printing needs. Please contact a sales representative to help find the right system for you.


text:
Developing, advancing and promoting women and organizations to impact the economy & future workforce
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Ascent Leadership Program
Women Connect
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Metro Women Connect
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Quad Cities Women Connect
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EPIC Survey Results
EPIC Video
Women of Achievement
Lead Iowa Campaign
2019 Dubuque Conference
2020 ATHENA + Male Champion of Change Awards
2020 Siouxland Conference
2020 Quad Cities Conference
2020 ICR Iowa Conference
SEWC Workshop: The Fine Art of Small Talk
2020 Central Iowa Conference
QCWC Workshop: 5 Ways to Lead When You're Not in Charge
CWC Workshop: 5 Ways to Lead When You're Not in Charge
Tiffany O'Donnell, Chief Executive Officer and EPIC Co-Chair
Contact Tiffany
Tiffany O'Donnell is the Chief Executive Officer of Women Lead Change, succeeding co-founder and CEO Diane Ramsey.
Since joining the organization in 2015, she has led the expansion of the organization's scope and reach, most recently reflecting that growth through a brand change. The organization, formerly called Iowa Women Lead Change is now Women Lead Change. Under her leadership, the Iowa-based team has increased revenue and staff by more than 100%. with offices in the Quad Cities, Dubuque Cedar Rapids, Sioux City, Des Moines and in 2020, Sioux Falls, South Dakota.
The organization's leadership development curriculum is now utilized beyond Iowa's borders, extending across the country and, in at least one case, in the U.K.
You may know Women Lead Change by its hallmark annual conferences that bring in world-class speakers and newsmakers. However, Women Lead Change has grown into so much more than an annual conference funding critical research, facilitating strategic leadership development programs like Women Connect and the EPIC Corporate Challenge, creating the Women of Achievement Bridge Awards and, most recently, launching a 12-month leadership intensive called the Ascent Leadership Program dedicated to filling the critical talent pipeline of high-potential mid-level leaders.
A lifelong volunteer, Tiffany is currently a member of the statewide Board of Directors for Reaching Higher Iowa and is a Director with the national Miss America Foundation Board. She also serves as Program Chair on the Board of the Cedar Rapids Downtown Rotary. She is the mother of two daughters and married to husband Michael for 27 years. AND, though none of her family members say they want to be a passenger, she is currently training for her private pilot's certificate.
Raised in Bettendorf, Iowa, Tiffany holds a Bachelor of Arts degree with a double major in Communications and French from DePauw University in Greencastle, Indiana.
Diane Ramsey, Co-Founder
Contact Diane
Diane Ramsey, Co-founder and former Chief Executive Officer of Women Lead Change has a track record as a leader, collaborator and innovator. She retired from the organization in 2017 and now serves as an advisor to Women Lead Change.
Ms. Ramsey built Women Lead Change's organization and reputation. Under her stewardship, IWLC grew from a grassroots-driven once-a-year event to a 501(c)(3) leadership organization that hosts conferences, underwrites research and advances organizational and individual development. Ms. Ramsey introduced Women Lead Change's CEO Forum, Student Track and Invest in She programming.
In 2010, Ms. Ramsey founded Corridor Women Connect, a non-profit organization dedicated to leading and encouraging employers to share best practices, leadership development, and networking. She is a founding member of the Women's Leadership Project, a statewide consortium that produced the She Matters: 2012 Status of Women and Girls in Iowa report and subsequent follow-up initiatives.
Ms. Ramsey's prior experience includes Rockwell Collins supporting the company's leadership role in Women Lead Change and as the enterprise chair for Rockwell Collins Women's Forum employee resource group. Ms. Ramsey served 15+ years with Alliant Energy leading economic and community development, its sales and strategic accounts business and communications and strategic affairs. At Alliant Energy and a predecessor company, Ms. Ramsey was engaged in branding and communications, regional economic and community development, merger integration, change leadership, diversity and Inclusion efforts, large customer management and public affairs. Her experience in marketing and advertising includes retail, consumer and B to B at the client and agency level – including Hy-Vee, Square D, and Budget Rent a Car's national and regional programs.
She is a trustee for the Millicent Rogers Museum in Taos, New Mexico, a founding member of Invest to Elect Women New Mexico and a national delegate for Vision 2020 (a coalition of organizations and individuals committed to achieving women's economic and social equality). Throughout her career, Ms. Ramsey served on statewide and community boards including The Iowa Business Council Deputies (Chair 2010), Professional Developers of Iowa, Forward Wisconsin (chair, 2009), the Four Oaks Board of Directors (2011-2012, chair), Corridor Women Connect Board of Directors (chair 2010-2012) and Theatre Cedar Rapids Boards of Directors (2003- 2005 Chair) and Trustees, St. Luke's UnityPoint Foundation Board of Directors, Waypoint Services Boards of Directors and Trustees and the National Czech and Slovak Museum and Library.
In 2009, the Corridor Business Journal recognized Ms. Ramsey as a Woman of Influence in the Iowa City-Cedar Rapids Corridor. Waypoint recognized her as a Pillar of the Community in 2011. In 2013, the Women's Equality Coalition of Linn County honored her as Woman of the Year.
Ms. Ramsey is a graduate of the University of Massachusetts in Amherst and she attended Business school at the University of Wisconsin – Madison.
Bobbi Segura, Central & Siouxland Regional Manager
Contact Bobbi
Bobbi Segura lives in Des Moines and has been actively involved in the business and nonprofit community in Central Iowa and in the Siouxland area. For the more than 20 years, Bobbi was a business owner and entrepreneur in the field of marketing and business development.
She founded B. Segura Consultants in 2008. She was a partner/member of Plum Communications, LLC, a collaborative group of writers, designers and marketing entrepreneurs who worked together to provide communications solutions. She was co-owner of Designgroup, Inc., an award winning graphic design firm with a long history of creating marketing materials for local, national and international clients.
Bobbi Is a graduate of the Leadership Iowa Institute and has been involved as a leadership volunteer of several national and local non-profit organizations and has gained a broad knowledge of these organizations, including Women Lead Change, Association of Women in Communication, NAWBO Iowa, St. Catherine of Siena Foundation Board, Central Iowa Chapter of the American Red Cross board of directors, American Red Cross Midwest Service Area Resource Council, American Red Cross National Committee on Nominations, Pinky Swear advisory council, Des Moines Carousel Foundation board of directors, and is an alumni of the Greater Des Moines Leadership Institute.
Jane Chesshire, Accounting Manager
Jane Chesshire joined Women Lead Change in September 2017 as their part-time Accounting Manager.
Prior to IWLC, she devoted 17 years at Coe College. While at Coe, she held the Assistant Controller position prior to being promoted to Assistant Vice President & Budget Director. After leaving Coe, Jane tried her hand at retirement for a year and found she missed being part of an organization benefiting others as well as an office environment. Women Lead Change is a perfect match; it has ignited her enthusiasm and still allows her some retirement time.
She and her husband live in Marion and have two grown sons.
Amy Eaton, Director of Marketing & Strategic Development
Amy, a native of Perry, IA, is the Director of Marketing & Strategic Development at Women Lead Change, based out of our Des Moines office. In this role, she is responsible for building a structure to create increased awareness of the Women Lead Change brand, including developing and implementing marketing initiatives, projects and programs to grow the organization.
Amy graduated from Iowa State University with a B.S. in Journalism & Mass Communications. She boasts 15 years of experience in marketing and media relations, along with extensive knowledge of business development and sponsor relations in Des Moines. Amy spent the past nine years as Client Experience Director at Allegra Marketing and previously worked as the Marketing Manager for the Des Moines Arts Festival and Downtown Events Group.
Amy is very active in the Des Moines community. She currently serves on the Board of Directors for the Urbandale Chamber of Commerce, and is past chair of genYP and Young Variety.
Morgan Schmall, Director of Operations
Contact Morgan
Morgan is a native of Cedar Rapids, Iowa. As Director of Operations, she is responsible for the daily functions and operations of Women Lead Change. She brings with her experience as a Paralegal and Office Manager for a law firm in Cedar Rapids.
After her husband attended a Women Lead Change conference, Morgan became passionate about joining the Women Lead Change team, so when a position became open, it was the perfect fit.
When not working Morgan loves to spend time with her husband, family, her two Bengal cats, and reading. On the weekends in the summer Morgan can be found drag racing with her family at race tracks across the Midwest.
Emily Comer, Event Coordinator
Emily was raised in Cedar Rapids and has been inspired by Women Lead Change's mission from a young age. She currently resides in Coralville and is works out of the Cedar Rapids office. She is incredibly excited to develop her role alongside the Women Lead Change team as the first Event Coordinator.
As a recent University of Iowa graduate, Emily is excited to begin her professional career in the Corridor area. Emily graduated in May 2018 with a degree in psychology and a minor in human relations. During her time at the University of Iowa, Emily served as her sorority's Service and Philanthropy Director for a semester.
Emilyne Slagle, Quad Cities Program Coordinator
Contact Emilyne
Emilyne joined the Women Lead Change team as the Quad Cities Program Coordinator in 2019. In her role, she will cultivate relationships in the Quad Cities to grow the annual conference and continue to add new leadership development opportunities to women in that region.
Emilyne graduated from Iowa State University with degrees in Political Science and Anthropology and a minor in Dance. After graduation, she and her husband moved back to his hometown of Blue Grass, IA. She worked for the schools counseling at risk youth and after a couple years began her journey into motherhood. She and husband Zach have two beautiful children, Henry and Amelia.
While taking time off to raise her children, Emilyne stayed involved with part time non-profit work in mental health, fundraising and event planning, all while still volunteering in her community.
Outside of work Emilyne can be found with her family boating and playing on the Mississippi River or curled up with a good book.
Shelley Till, Program and Development Coordinator
Contact Shelley
As a Division I athlete, coach and an influential voice for leadership & peak performance, Shelley has been delivering powerful messages of vision, tenacity, strength, self-care and performance for decades. As a proven motivator for life change, personal and professional development, Shelley delivers impactful strategies for excellence. Shelley teaches that leadership and coaching can powerfully inspire people to enhance their beliefs, overcome challenges and ultimately develop resiliency to achieve the desired behaviors that promote success!
Shelley applies these valuable personal and professional experiences in her role as Program and Development Coordinator for Women Lead Change. Shelley works directly with the Dubuque & Iowa City/Cedar Rapids Conferences and the Ascent Leadership Program, as well as identifying ongoing professional development opportunities for WLC.
Outside of WLC, Shelley enjoys broadcasting college basketball games with the Big Ten Network, spending time watching her son, Riley play basketball for the University of Iowa, visiting her daughter, Claire (also a former Iowa basketball player), and watching her son-in-law, George play football for the San Francisco 49ers.
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Bolbaddh ras is an effective astringent and styptic.
An excellent tool for the prevention and restoration of health with stomatitis, hemorrhage (e.g., bleeding from the nose), menorragia (excessive discharge of blood during menstruation).
Helps to eliminate the effects of bleeding, such as fatigue, irritability, loss of appetite, redness in the eyes.
Indications: bleeding, infections, especially urinary tract, ulcer bleeding, hemorrhoids, fever, imbalances of blood and the Pitta doshas.
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Awarding creative concepts which bring the digital thinking to a new level, that is the essence of the SpinAwards. For the 2017 award ceremony, cinematic director Tom Hankins turned his visual storytelling experience to an abstract, memorable and epic journey; the symbolic story of how the creative digital industry continuously disrupts and breaks old standards to form new ones, those that are acknowledged by the SpinAwards.
At Colorbleed we generated the simulations and procedural effects using SideFX Houdini. From the drop that splashes, microscopic cracks, growing fibres and tactile surfaces with geometric patterns, shockwaves that blow up dust to the encapsulation of the SpinAwards logo we designed all visuals to work with the story Tom envisioned from the beginning. A story that not only tells how standards are broken time and time again but also keeps you on the edge of your seat whilst being part of the birth of the new digital era.


I'm in Cheyenne, Wyoming, this evening.
More to the point, the only ways from Fruita to Oshkosh involve flying over, or around, the Rocky Mountains, so even if rain holds off, unless you want to fly all the way south to New Mexico or west a long way and then north a long way, you need the clouds to be well above the 10,500 foot elevation of the passes. The non-aviation weather sources varied about when Fruita would change from "partly cloudy" to "cloudy", and when the rain might arrive - and had no forecasts for cloud bases. Windy.com had cloud predictions which were marginal. In the end, I could probably have made it out tomorrow morning, but "probably" isn't a concept I'm comfortable with when the subject is flying over mountains.
So, I decided to leave this afternoon. By two o'clock I'd put fifteen gallons more fuel in the Cessna (you don't want to have full tanks getting out of a 2600 foot strip at 4,724 foot elevation), and I was climbing out on a left downwind from Runway 25 at Mack Mesa Airport 10CO.
From Fruita you have to climb up out of the Colorado River Valley and over the Book Cliffs. I was at 7,500 when I crossed the cliffs.
Not long afterward I was at 8,500 - the Cessna was maintaining a comfortable 500 foot per minute climb - and could see over most of the peaks, which meant we were higher and could safely pass.
It's rugged country, with dramatic cliffs.
I suppose we have to have a Rorschach Test Pond for the day - I'm guessing prehistoric fish?
After passing Meeker (KEEO), we'd climbed to our final altitude of 11,500 feet and were well above the terrain, heading directly for Robert VOR (BQZ) near Steamboat Springs. Steamboat Springs is in a valley, with the steep northeast end of the valley sloping up to a pass at around 10,500 feet.
We crossed the pass above the ski area at 11,500, about 1,000 feet above ground level.
The other side of the pass drops steeply down to a broad, flat and dry valley called "North Park", which makes up most of Jackson County, Colorado, Colorado's third-least inhabited county.
The Canadian River snakes through North Park.
The eastern border of North Park is another ridge, but the pass near Walden, CO, is much lower than the one at Steamboat. I descended down to about 10,000 feet as we crossed the ridge.
Once through that pass, it's all flat - and downhill - to Cheyenne, about 70 miles eastward.
A train on the line between Fort Collins, Colorado, and Laramie, Wyoming.
By a little after four o'clock, I was on a right downwind for runway 27 at Cheyenne KCYS. The winds were light, by Cheyenne standards - 280 at 11 gusting 15. The last time I was in Cheyenne they were gusting 34, so that seemed quite comfortable.
We landed, and soon afterward the FBO was giving me a lift to my motel.
The weather from here eastward is supposed to be nice over the next few days, so unless something changes I'll be in North Platte, Nebraska, tomorrow afternoon, Mason City, Iowa, Tuesday, and Oshkosh by mid-day Wednesday. Watch this spot for developments!


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An important reminder for all of us.
Pope Francis has shared many important messages with the world — like encouraging us to comfort the vulnerable and embrace diversity instead of resist it — but perhaps his most important message is that of love. Loving those in need, those we have differences with, our families, ourselves. That message is particularly crucial at a time when we're separated by so many forces, from politics to our flawed relationship with technology that keeps us glued to our screens instead of each other. The Pope has spoken about the beauty of unconditional love and how we must practice it. It's essential to our humanity and a valuable lesson for every one of us to keep in mind.


Clay Aiken – Not A Great Day!!
I promised an update during the day….BUT…I had major computer issues today!!
I am so sorry!! There are some really fun articles out there.
The article is written…now I have to get my computer to stop messing up the formatting!!
I will post it tonight!
Also – a quick point about negative comments.
A poster does not have to agree with Clay or CANN and can post that in a way that encourages a conversation.
Differing ideas are fine…negative for the purpose of stirring the pot is not OK.
I thank you all for your continued support!!
Thanks for telling us what's up, musicfan. Sorry you're having a hard time. Not to worry on our account, tho, you give us so much and there's so much still to follow up on — haven't found a poll yet, outside of CA — that we've got plenty to do!! I'm loving it that all the reviewers are on to Dayana's strategy (except NY Post, who called her a "weak player" — NOT! She's a smart cookie!!) and are giving our guy so many kudos!! Btw, did they really put up a bb of Clay or is that a photoshop? It's YOWZA!
Error: Error validating access token: Session has expired on Tuesday, 21-Aug-18 16:13:01 PDT. The current time is Monday, 22-Apr-19 23:10:25 PDT.


This Balance pendant combines the pure aquamarine with the soft rosa quarts that will ignite your passion and accentuate your finest features. The pendant can be worn in a long or short neck chain; choose for example our Stream chain or the Kharisma necklace for a cool and feminine look. Pair with other jewelry from this collection for a versatile and beautiful look or mix with jewelry across collections for a personal and stunning look.


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Most smokers with head and neck cancer STILL puffed on cigarettes two years after treatment
Most smokers diagnosed with head and neck cancer were still puffing on cigarettes two years after treatment, a new study finds.
Researchers at the University of Minnesota, in Minneapolis, tracked 89 people in their 60s who smoked at least five cigarettes a day when they were diagnosed.
Of the 61 who were still alive two years after treatment, as many as 38 — or 60 percent — were still smokers.
The research team suggested many failed to give up smoking because they went 'cold turkey' at diagnosis — cutting out all cigarettes — risking a relapse. They called for smokers who were suffering from cancer to be offered counseling and medication to help them quit the habit.
Smokers with the cancers were three times more likely to quit in the first six months after diagnosis than at any other time, they said.
The graph above shows the proportion of patients with head or neck cancer that were still smoking (dark blue) or had quit (brown area) from six to 24 months following treatment
The above shows the proportion of patients diagnosed with head or neck cancer who were still smoking (dark blue), had stopped smoking (brown) or died (light blue) from six to 24 months following treatment. All had smoked at the time of diagnosis
About 66,000 Americans are diagnosed with head and neck cancer every year, estimates suggest, with up to three in five surviving for half a decade after diagnosis.
Tobacco and alcohol both raise someone's risk of suffering from the diseases, the Centers for Disease Control and Prevention says.
But occupational exposures — such as to dust or asbestos on building sites — or catching certain viruses can also raise the risk.
What is head and neck cancer?
Head and neck cancers include those that start in several places in the head and throat.
These may include the sinuses — spaces behind the nose —, the tongue, the larynx or voice box, and the roof of the mouth.
About 66,000 Americans are diagnosed with these cancers every year, estimates suggest.
Survival rates show up to three in five will survive for half a decade following diagnosis.
Symptoms of the cancers include the following:
swelling in the jaw;
unusual bleeding or pain in mouth;
lump or thickening in affected area;
bleeding through the nose;
Blocked sinuses that don't clear.
Scientists say alcohol and tobacco are the major risk factors for the cancers.
But occupational exposures — such as to dust or asbestos on building sites — and catching certain viruses could also raise someone's risk.
Source: Centers for Disease Control and Prevention.
In the study — published Thursday in JAMA Otolaryngology — scientists tracked patients who came to the University of Minnesota's head and neck surgery clinic between 2009 and 2017.
Participants had been smoking for at least 16 years on average, and had attempted to quit about five times.
In the first six months after surgery 32 smokers quit (32 percent), but 52 continued to use cigarettes.
By the two years mark of the patients still alive there were 23 (40 percent) who had smoked at diagnosis but since quit.
Over this period eight smokers who managed to quit later relapsed.
A total of 27 patients died.
The study did not look into methods smokers used to drop cigarettes.
However, the medical researcher who led the study, Dr Tyler van Heest, and others wrote in the paper: 'Among active smokers with throat and neck cancer, prior tobacco use cessation attempts are most often unassisted "cold turkey" attempts.
'An intervention combining cognitive behavioral therapy and [medication] was the only intervention to show significantly higher smoking cessation rates compared with a usual care control group.'
They pointed to a 2020 study which found smokers with the cancers who were given twice weekly counseling sessions and medication were twice as likely to quit as those who only counsel gotling.
Smokers who successfully quit the habit had used cigarettes for about 16 years on average, and were having about 12 cigarettes a day when they were diagnosed with the cancers.
They had tried to quit about 10 times previously, with the longest time they went without cigarettes being a year and one month.
For comparison, among those who did not quit they had been smoking for 28 years on average, and were having 18 cigarettes a day.
They had tried to quit about five times previously, with their longest period without cigarettes being 306 days.
The study also found smokers were most likely to try to drop the habit within the first six months of diagnosis.
The scientists suggested this may have been because they were motivated by the recent diagnosis, and were getting less enjoyment or ease from smoking.
They added that cigarettes could also be triggering pain in the throat due to the impact of chemotherapy and other cancer treatments.
They concluded: 'The results of this cohort study suggest that a significant proportion of patients with head and neck cancer who are daily smokers at the time of diagnosis continue to smoke after treatment.
'Those who successfully quit smoking were most likely to do so in the first six months after treatment, which could potentially serve as a preferred window for smoking cessation interventions.'
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Queensland Closing the Gap Report Card shows why justice targets are needed
The Queensland Government today became the first state to release a whole-of-government report card on efforts towards Closing the Gap. In response, Rodney Dillon, Indigenous Rights Adviser, at Amnesty International Australia, said:
"Government and community solutions to close the gap of disadvantage between Indigenous and non-Indigenous Australians must be driven by data.
"Report cards are one step towards this and Amnesty International Australia welcomes the Queensland Government's Closing the Gap Report Card. All governments should now do the same.
"The Queensland report card does show however, that there is much work still to be done – with more than half of the targets not on track to be met.
"The glaringly obvious omission from this report card and from the Closing the Gap Framework itself, is clear reporting on justice targets. At a time when Queensland youth detention centres are overcrowded, and kids are being held in watchhouses at alarming rates, this isn't acceptable.
"The small amount of information on youth justice that was included showed that nearly 40% of Indigenous kids being locked up are under the age of 15, compared to only 23% of non-Indigenous kids.
"We need to be able to compare these figures, and other justice-related national indicators, to set targets that will reduce Indigenous overrepresentation. Targets – that include national reporting obligations and measures of transparency – are a proven mechanism to achieve real progress and accountability for change.
"There has been a deafening call from the community and Indigenous leaders to include Justice Targets in the Closing the Gap Framework and Federal Government must ensure youth justice is included in any refresh of the targets. Amnesty is also calling on the Queensland Government to lobby for their inclusion. If Queensland is serious about making a difference in this area, they will let their voice be heard in Canberra through COAG."
Joel MacKay is a campaigner at Amnesty International Australia.
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I liked how close the hotel was to places which i wanted to visit in that city. I enjoyed area and local restaurants. The hotel breakfast was good but nothing outstanding. At the end we stayed one more night I that hotel.
Great location. Near the center and train station. A basic, no frills hotel.
Small tidy rooms with odd plumbing arrangements of one room for sink, one for shower, and one for bidet. Not a problem, just interesting.
The location is great, the staff are very friendly, and it's clean.
Low cost and proximity to train and center city. Bed comfy.
Breakfast was adequate and good value. Very easy to get around Toulouse from the hotel. Every thing within walking distance and very good restaurants nearby.
Good sized room and location close to sights and good restaurants. Fantastic breakfast that was comparatively cheap..
Perfectly situated in the heart of Toulouse. Room was warm and bed, pillows comfy.
One of our top picks in Toulouse.Located in the heart of Toulouse, the Ours Blanc is set next to Place Victor Hugo and 2.5 mi from Toulouse Stadium.
Each soundproofed room has free WiFi, air-conditioning and a TV.
Guests of the Hotel Ours Blanc - Place Victor Hugo can enjoy a buffet breakfast and free newspapers in the hotel dining room.
The Hotel Ours Blanc is located 650 feet from Jeanne d'Arc and Capitole Metro Stations. Guests can visit the nearby Canal du Midi, the Place du Capitole and the Victor Hugo Market.
When would you like to stay at Hotel Ours Blanc - Place Victor Hugo?
An LCD TV with Canal+ channels and a private bathroom feature in this soundproofed room.
An LCD TV with Canal+ channels and a private bathroom feature in this larger room.
This larger room features twin beds, air conditioning, soundproofing and satellite TV.
This single room features a soundproofing, air conditioning and cable TV.
House Rules Hotel Ours Blanc - Place Victor Hugo takes special requests – add in the next step!
Hotel Ours Blanc - Place Victor Hugo accepts these cards and reserves the right to temporarily hold an amount prior to arrival.
Public parking is available nearby with preferential rates for the hotel's guests. There is a night rate and a day rate.
Please inform Hotel Ours Blanc - Place Victor Hugo of your expected arrival time in advance. You can use the Special Requests box when booking, or contact the property directly using the contact details in your confirmation.
The door of the room was a little hard to open and close, a little tiny shower, but normal for France.
Great location, clean and cosy room, staff very friendly, good value for the money. Very confortable bed and sound proof room. Supermarket across the street and the very interesting and characteristic market Victor Hufo just in front.
The location is great, 3 minutes walking from Capitol. This is a basic hotel, just for resting and sleeping correctly. The recepcionist were really kind and helpful.
Toulouse is a modern, clean and enjoyable city, but Hotel Ours Blanc represents the opposite. It's dilapidated, the rooms poorly furnished in the distant past, and facilities generally in disrepair. For example, the sink in my room was blocked, resulting in all manner of gruesomeness from the u-bend floating up into the basin. My friend's room didn't have this problem because his room didn't have a sink at all... The unit on the wall was formerly an airconditioner, now just a broken carcass. And so on. It strikes me that this hotel is not in the market for overnight guests, rather it's a by-the-hour proposition. If you're staying in town for more than an hour, go elsewhere.
I didn't like a lift - its just too small. Info label inside says up to 3 people but i think they would need to be very slim with no luggage. My friend had injured leg and was having one suitcase so in that situation i chose stairs to get to our room.
You can hear the TV from the adjacent room.
Excellent location in the centre of the city. Plenty of bars and restaurants around + a morning market.
The room is very small for family but clean. No coffee, tea even water cooker. The aisle also very small but clean. The location near shopping centre (behind the hotel) and train station (around 10 min walk).


No, it's not a magical item from a fantasy story—although that would be a neat weapon. Water hammer is the name for the loud thumping sound that may suddenly come from your home's pipes. Water hammer is a common occurrence—in fact, in early plumbing systems, water hammer was what often caused people to believe their houses were haunted!
It's not a ghost, so what is it?
What's occurring when you hear water hammer is the abrupt stop and reversal of water flow in the pipes. This can happen when a faucet or other tap is shut off. The force of the water direction change creates a noticeable banging or thumping sound.
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Crusaders give back to their community
Home » Features » Crusaders give back to their community
Posted By Mary Beth Kelton on Sep 29, 2009
While most college students were sleeping on the morning of Sept. 26, many Crusaders were awake and to serve at a campus wide event.
"Reaching Out is an opportunity for UMHB students to give back to the community," Junior Christian studies major and director Zachary Raygoza said. "It went really well. We had a big turnout."
Students met on campus at 8 a.m. They then separated into groups and ventured to various locations around the city .
Sophomore business major Tobin Davies served at Treehouse Farms.
"We painted the inside of the rehabilitation center," he said. "There were 15 of us that did it. It took us most of the time, but we still had time to clean up the paint supplies when we were finished."
Freshmen Ryan Murphy and Caitlin Hiett prepare boxed frozen carrots at Helping Hands. Photo by Kelly Ramieex
Junior nursing major Jacquie Case spent her morning at Helping Hands.
"My group had to help strip the floors for repairs," she said. "We also boxed up frozen broccoli and carrots for them to give to their clients and helped to pick up trash."
Approximately 200 volunteers donated their time to serve, including dorm directors and professors.
Junior exercise and sport science major Roger Sanchez enjoyed his time serving.
"It was a humbling experience," he said. "I really enjoyed being able being able to give back to the city. Belton has done University of Mary Hardin-Baylor and I'm glad we were able to do the same."
"One of my favorite sites was Churches Touching Lives for Christ," Raygoza said. "It was more raw for them."
Senior business management major Veronica Sullivan participated at the location.
"We helped to fold clothes, and we bagged groceries," she said. "We also filled up bottles with laundry detergent. There was a constant flow of people who needed the items. We had a great team with great team work."
"One lady I saw, had five kids and one of them was only a month old. She was getting clothes for them. I was like 'wow', you could tell the people community."
Volunteers also had a choice to help with Won't You be My Neighbor.
"The event is an opportunity for the local community to do local outreach," said campus missionary Jena Coulson.
"We had 120 volunteers show up for Won't You be My Neighbor, including the softball team, Miss MHB pageant girls, Ministry Leadership Council, Freshmen Ministry and Reaching Out."
Raygoza said, "It was like a fall festival for the local kids; just to let the community know that someone cares about them."
"There were snow cones, hotdogs and popcorn," said Coulson. "We also had face painting, a clown and a magician for the kids. There were also games to play, like sack toss."
"The children at Won't You be My Neighbor looked like they were having a great time," said elementary education major Kathryn Groseclose.
"I personally had a fun time I am already looking forward to next year. The school did a really awesome job."
Raygoza said this year's Reaching Out was the largest in history.
"It was a surprise because we decided to schedule it a lot earlier in the semester and didn't have as much time to plan as compared to the past," Raygoza said. "It was a success and our community received some of the service it needed."
Author: Mary Beth Kelton
I am a senior at UMHB and loving it! I am the features editor for The Bells and I also intern at the Temple Chamber of Commerce. I transferred to UMHB fall 2008 and God has done so many amazing things with my life. I am excited to graduate in May but more excited about the next two semesters and the memories that I will gain. I plan to continue my education by obtaining a masters degree in sociology after graduation unless I am somehow blessed with a job.


Board index ‹ CBX TECHNICAL LIBRARY: Answers For All Your CBX Questions ‹ X ...OTHER TECHNICAL: Won't Run, Centerstands, Chains, Fairings, Tanks, Gauges, Petcocks, Seats, Turn Signals, etc.
I know this is going to sound wimp-ish, but I have a devil of a time getting my CBX on it's center stand. Is there an adjustment? The only way I can get the damn thing on it's center stand to place the front on a slight incline. Now I know what you are thinking, that I'm probably a little weak guy. But oh no, I'm 6'2" and 210 lbs and in pretty good shape. So is there something wrong with my bike? I swear on level ground it is almost impossible to get this think on it's stand.
Rock back,step down pull up.Practice practice practice!
FREEDOM WILL NEVER BE FREE!
Do you have a Prolink or an early (79/80) CBX? If you have a later 81/82 model, make sure the suspension is to spec, i.e. the front fork and rear shock air pressure is O.K. Same would apply to 80 front end only. Insufficient air pressure will cause the suspension to sag and this loss in height may make it difficult to get the bike on the c/s.
I would check it closley for cracks, mine got hard to do to, just before it broke.
Yes I checked mine for cracks about 4 years ago when there was a big discusion about it. One side was cracked off altogether. The side stand was also bent and it leaned over way too far. The stands are certainly not the strongpoint of the CBX.
This also sounds silly, but is the foot extension on the stand fully intact? Without the proper leverage with the full length extension, it would be hard to lever the stand down. Just a thought.
You might want to check your tire size along with you shock. When I purchased my 82, it had a tire that was considerably smaller than the stock size. The bike would hardly stay on the side stand and was almost impossible to get up on the center stand. Also make sure in you have a stock shock that its holding air. If the suspension is sagging, you will have to pick up more of the weight of the bike to get it past the apex of the stand.
Return to X ...OTHER TECHNICAL: Won't Run, Centerstands, Chains, Fairings, Tanks, Gauges, Petcocks, Seats, Turn Signals, etc.


Earlier this month, the U.S. Treasury and IRS issued final 199A regulations. Because they were released in 2019, taxpayers have the option of following the proposed regulations or the final regulations for taxable years ending in 2018. The new rules clarify some issues but leave others unanswered.
Many legislators from agricultural states like Iowa have been fighting to fix an unintended consequence that was written in the 199A tax provision giving farmers a tax incentive to sell their products to cooperatives over other types of businesses, like private elevators.