{"id":1797,"date":"2017-09-25T02:04:55","date_gmt":"2017-09-25T02:04:55","guid":{"rendered":"https:\/\/apexauthors.com\/?p=1797"},"modified":"2019-06-06T02:08:42","modified_gmt":"2019-06-06T02:08:42","slug":"frequently-asked-questions","status":"publish","type":"post","link":"https:\/\/apexauthors.com\/frequently-asked-questions\/","title":{"rendered":"Frequently Asked Questions"},"content":{"rendered":"
This is another question where the\u00a0real<\/i>\u00a0answer is going to be niche-specific. Just because people in one niche prefer buying kindle books doesn't mean that even the\u00a0same<\/i>\u00a0person wouldn't prefer a physical book in another niche.<\/p>\n
That said, some\u00a0broad<\/i>\u00a0generalities that I've noticed in the niches I've been in and that I suspect hold\u00a0relatively<\/i>\u00a0true for most:<\/p>\n Since it's so cheap to hit both avenues, I usually would opt to distribute in both marketplaces. If you make sure that the books are mapped together in Amazon, then reviews for a digital version will appear on the physical and vice versa. \u00a0If I'm testing, then I'll usually opt for Kindle-only at first, because it is a bit easier and faster, and you can try different mediums (short works as single titles, multiple short works as a collection of titles, a single title with all of a group of short works, etc.) \u00a0Once I have a better idea for a marketplace, I can roll out a physical book.<\/p>\n Of course, for UBC-style books, I usually go physical first and often stay physical, since the point of those is to have something to hand people. One of my clients, we started with physical books because he probably still doesn't understand what kindle is other than that I send him a royalty check every month and that half the money from it is from the digital sales.<\/p>\n But, I guess the best advice I can give is to test your market and respond accordingly.<\/p>\n<\/div><\/div> I reached out to customer support at CreateSpace, so here's their official stance:<\/p>\n So…you technically can transfer a title if you use your own ISBN or don't care if you lose your reviews by setting up a new page. Another option that you can use is to retire your title and create a second edition of the book in the new account. You can then contact support and have them link the two books so that people will see the new edition of the book and it will make more sense to readers on the site the difference between the two listings. They'll still be two different titles (technically) but it will be obvious folks should get the new version.<\/p>\n Personally, if I thought it likely that I'd want to move the book, then I would just set up a new account under the other person's name. You used to be able to have multiple accounts at CreateSpace but they changed their TOS to not really allow that – so you will need to use a different SSN or EID when setting up the new account. (As far as I know there's nothing to stop you from using the same information and just having a separate account, but it is usually a good idea to comply with a site's TOS to avoid problems in the future.)<\/p>\n No matter what you decide to do, if you set up an Author Central account for this book, I'd set up a distinct one from your account under that person's name. \u00a0You can create up to 3 pen names under one account, but I prefer to keep client books separate from my own where possible, and in Author Central there's nothing wrong with having a new account under that person's name so that it doesn't co-mingle with your own books.<\/p>\n<\/div><\/div> If you plan to create Kindle versions of your Ultimate Business Card book, then selling your own book as PLR probably isn't a good idea as they are unlikely to approve the books and will remove any that are already there. For CreateSpace, you can create Private Label versions of the books with minimal updates if you want to, but it isn't necessarily what I would recommend.<\/p>\n Instead, I'd set up an appointment with the person to interview them and get their actual expertise and create a book focused around their knowledge and in their words. Just record the interview, transcribe it, and then edit it into a readable format. That will provide the most value for them, rather than having a book that is the same as a dozen others on Amazon. If somebody didn't want to use their own expertise and just wanted to slap their name on a book, then you could offer to do that but I would not add their book into the Amazon marketplace unless there were some significant alterations. You could still use CreateSpace or another print-on-demand company to provide copies of the book for them to use as a UBC without having to have it actually available on Amazon.<\/p>\n Generally speaking, though, I tend to work with people that have some expertise of their own and create a truly unique book for them that promotes their knowledge and works as lead generation for them with calls to action specific to what they can offer potential clients.<\/p>\n<\/div><\/div> That is completely market-driven and has nothing to do with where the book is printed or who published it. There is a lot that comes into play, including but not limited to…<\/p>\n The only real way to find out how much you can sell your book for is to begin with market research and then to test different price points, which can be done with a single book or across a spectrum of different books and then comparing the results.<\/p>\n<\/div><\/div> For whether or not you should purchase ISBN numbers, read the “Should I purchase ISBNs or should I use the free CreateSpace ISBNs?<\/a>” question here in the FAQ. Basically, if you live in Canada or plan on printing anywhere other than CreateSpace, you should get them, otherwise it's basically for vanity. Which is a very valid reason for purchasing your own, but John & Jay don't see the need and I haven't gotten around to it yet for my own publishing company despite wanting to remove CreateSpace as the publisher for my books.<\/p>\n As for forming your own company, I highly recommend it. It lends a lot of credibility for landing clients, it can help protect your assets and limit your liability (it's worth spending the money to have an attorney set you up in my opinion) and it can give you a “home base” for promoting all of your client's work. You don't need ISBNs to start a publishing company; so I'd recommend waiting until you have sufficient cashflow to purchase them if that's something that you decide to do.<\/p>\n<\/div><\/div> I don't actually sell any of my books through CreateSpace, so I can't speak about their marketplace specifically and personally wouldn't worry about it.<\/p>\n For Amazon, it doesn't matter if the book is created by CreateSpace or not. If the book is amateurish and poorly constructed, it's going to get bad reviews. If it's a quality book, then people won't even notice, it'll just be the way that it is. Unless you smack people in the face with the “this book is self-published!” dogma, most people won't even know (or care<\/em>) if a book was printed by CreateSpace or somewhere else.<\/p>\n Exceptions might be for specialty books (such as full color photo books – with which I don't have any experience yet) that may or may not print as well, but for standard black & white trade paperbacks, people won't know or care where it was printed as long as it is easy to read and doesn't fall apart.<\/p>\n<\/div><\/div> I haven't personally used Overdrive<\/a> yet; it's on my list of things to do that just haven't gotten done yet. I've looked into the process for putting books up; you can make them available in many different formats, be that PDF, mobi (kindle) or epub. <\/p>\n Personally, I don't think there's a problem selling to libraries. They purchase physical books; there's nothing wrong with purchasing licenses to rent out digital books. That said, I'm a big fan of libraries and the services that they provide so when I do start adding my catalog to Overdrive I plan to price it lower than through other mediums. Individual libraries purchase their own books, so if you price a book too high, then the libraries will decide they don't need to stock your book. I haven't looked into whether I can set up free books for specific libraries through that system yet or not (I like to donate copies of my paperback books to my local libraries) but I believe it's probably possible through their promotional tools.<\/p>\n The digital library market has changed quite a bit over the last couple of years, so once we are done researching the current best practices we will update this FAQ.<\/p>\n<\/div><\/div> The answer depends on what you mean by lost.<\/p>\n If you used it previously on a book other than the one that you are currently working on then you can't re-use it.<\/p>\n If you were given a free one from somewhere such as CreateSpace or Lulu or Smashwords, then you can retrieve it by continuing to work on the project in that interface where it was assigned.<\/p>\n If you ordered a block of ISBNs from Bowker (assuming that you live in the United States), then they have an interface where you can see what ISBN numbers you have been assigned.<\/p>\n If you previously assigned that ISBN to the book, then you can check the Books in Print database through Bowker's search tools, or if it has been previously published and is available for sale then searching Amazon or other bookseller networks will let you retrieve it.<\/p>\n Based on your question, my guess is that you purchased an ISBN from Bowker, and so the easiest way to retrieve the ISBN number is either to search your email for messages from them, or to log in to your account with them.<\/p>\n<\/div><\/div> I don't have any experience there; the way that I would go about it would be to find an agent in your niche that has contacts that would be interested in printing your book, including in overseas markets.<\/p>\n If you are making a lot of digital sales, you could try approaching publishing companies yourself as you'd have some data behind you, but unless you go with smaller independent companies you probably won't get very far as the big players all use agents as a minimum cost of entry to vet new projects.<\/p>\n The agents you'd need to speak with would all be specific to your niche; you could try looking in the\u00a0Writer's Market<\/a> annual books for the addresses and contact information for book publishers and agents; I used to purchase that book every year back in the 90s, and it was a pretty quality publication back in the day so I assume that it still is.<\/p>\n<\/div><\/div> As for my payment process, I do one of two things. I get a check from the person (pretty much how all my local transactions take place) or I create a payment link in\u00a0Paypal<\/a>\u00a0and email the payment link. If it's a recurring payment, I'm just using Paypal's recurring payments. I used to have a merchant account with my running business but I cancelled that over a year ago as I wasn't utilizing it enough and there are plenty of lower cost options out there. I haven't actually used it yet, but I also have a\u00a0Square<\/a>\u00a0account that lets me charge credit cards by swiping them onto a device I connect to my phone. I haven't compared lately, but the discount rate was similar to Paypal's so I haven't bothered looking for the device and it's buried in my office somewhere. \u00a0Eventually, I plan on integrating something like\u00a0Stripe<\/a>\u00a0to my website, but there's no real need to do that right now so I'm basically going with the check first, Paypal second as my options I offer people.<\/p>\n<\/div><\/div> If you are going to set up a book for a client in your own KDP account and will be paying them royalties for what they sell, make sure you charge some sort of premium on it. You have the additional book keeping, potential tax liability, and the extra task to complete each month. <\/p>\n I currently have one client that I pay royalties to on a monthly basis, and I wish that I'd set it up so that I only had to pay him once per quarter. <\/p>\n Make sure you keep good records for how much money you are collecting and paying out, and remember that while CreateSpace pays out on a net 30 at the end of the month, KDP pays out net 60 at the end of the month, so you are looking at potentially 90 days between the sale of a book and getting paid for it.<\/p>\n I'm not familiar with any sort of issues between the different countries but I haven't had international clients yet so I don't know if there are any specific gotchas that you need to watch out for. It's probably worth talking to your attorney or accountant and getting things set up ahead of time properly. For example, Amazon holds 30 or 35% of the royalties for taxes unless they have the tax documentation from international sellers, so if they are going to be selling a lot of copies of their books you'll need to make sure that you are not getting stuck with their tax bill.<\/p>\n<\/div><\/div> I don't have any research as I don't do much in the children's marketplace, I mostly work with business customers. One of my clients has a children's book, which I did a kindle and epub conversion for, but I wasn't involved in the writing of the book at all. \u00a0For me personally, I tend to write things as simply as I can and still adequately explain my topic in order to make it as accessible as possible to as many people as possible. There are a lot of\u00a0adults<\/i>\u00a0that aren't very strong readers, and it's always best to be as accessible as possible.<\/p>\n That said, if you want to see how advanced your book is under the\u00a0Gunning Fog<\/a>\u00a0or\u00a0Flesch-Kincade<\/a>\u00a0readability scales, you can turn them on directly inside Microsoft Word and have it report the statistics to you. Here's the directions for how to do that:\u00a0http:\/\/office.microsoft.com\/en-us\/word-help\/display-readability-statistics-HP005189601.aspx?redir=0<\/a><\/p>\n<\/div><\/div> There are two issues here. \u00a0First, if it doesn't make sense to split up your books, there is no reason to and you should submit it as a single work. \u00a0The beauty of a digital format is that you don't have to worry about “bulk” when trying to read a long work, and you can price short works cheap enough to justify selling as stand-alone pieces. Each work should be as long as it needs to be and no longer and no shorter.<\/p>\n That said, there are a lot of examples of serialized fiction on Amazon. \u00a0In fact, serialization got so popular that Amazon created the\u00a0Kindle Serials<\/a>\u00a0program a few years ago to provide a better outlet than the ways that their marketplace was currently being used (right now, you need to sign a publishing deal with one of Amazon's publishing houses, such as\u00a047 North<\/a>, in order to have access to the Kindle Serials program.) \u00a0The way that that program works is that every week or two weeks, a new “episode” in the serial is released and automatically added to the end of your book (with all of your bookmarks, highlights, and read locations preserved) and then at the end of the novel you are reading they release a paperback version and bump up the price of the serial to a standard book price instead of the discounted price it starts with while being serialized.<\/p>\n To my knowledge, Amazon no longer signs new books for this program and so it's unlikely to ever be available, at least for the foreseeable future.<\/p>\n There are publishers that put out serials as distinct books for each “episode” of the season. Basically, they become shorter series books.<\/p>\n If you want to maximize the exposure of your books, you could release them as a whole, and then release discrete parts that then reference the whole. Just make sure that each piece you sell has an accurate description of what is being sold inside that book, and that it's enough information to be useful (for non-fiction) or enjoyable (for fiction) – you don't want to split up a book by chapters\u00a0unless<\/i>\u00a0each chapter is a discrete element that could be sold on it's own merits. Include a link to the complete book as a collection of all the discrete parts (and potentially include the links for each discrete part for somebody to pick and choose.) When pricing your works, make sure that there's a good discount to be had by buying everything; if somebody purchases 1 of the parts, the cost of the whole work should be less than it would cost to then purchase the remaining works individually.<\/p>\n<\/div><\/div> There are a few considerations when deciding whether you want to purchase your own ISBNs or not. First, if you want to save money and only plan on selling your books through CreateSpace and Kindle, then there is no reason not to just use the CreateSpace ISBNs other than for vanity reasons.<\/p>\n Having your own ISBN number is useful if you want to have your publishing company listed in Amazon. You can always list your own publishing company on the title page and copyright page of your book, but if you want libraries or for the listing on your Amazon sales page to have your publishing company then you will need to have your own ISBN. For most people, using the create space ISBN number will not be very visible and will serve their purposes fine without having to spend any money.<\/p>\n The cost of an ISBN very is widely depending upon what country you live in. If you live in Canada<\/a>, for example, then you can get your ISBN numbers for free because registration is handled by the government. If you don't mind spending a little time registering them, then you may as well take advantage of that program. In the United States<\/a>, ISBN numbers cost between $125 for one and $1 each for 1000 ISBN numbers. In Australia<\/a>, it costs $42 for one ISBN or $2.82 each if you buy 1000 ISBN numbers. You can determine where you purchase your ISBN numbers by choosing your country at the International ISBN Agency's website<\/a>.<\/p>\n If you ever plan on selling your books anywhere other than on Amazon, then you will not be able to use your CreateSpace ISBN number. The platform that you use may or may not provide its own free ISBN number, but if your book is one addition then it makes sense to have the same ISBN number for all places that it is being printed. In that case, you'll probably want to purchase your own ISBN numbers.<\/p>\n If you are publishing multiple editions of your book, you will need a different ISBN number for each addition. For example, a hardcover and softcover book will each need their own ISBN number, as well as the audible version of the book and the e-book version. If you are only selling your e-book version through Kindle, then you will not need an ISBN number at all as Amazon does not require it.<\/p>\n There is definitely value in having your own ISBN numbers for branding your publishing company. However, when you are starting out it is not something that is a very high priority. I would recommend holding off purchasing your ISBN numbers until you have a lot of business and it makes more sense for your publishing company. You may find that you don't need to purchase them at all; John and Jay have not purchased their own ISBN numbers yet and they have hundreds of books for sale on the Amazon marketplace.<\/p>\n<\/div><\/div> When I get a new client, I talk to them to find out whether they already have accounts set up, whether they want me to set up the accounts for them, or whether they want to set them up themselves. <\/p>\n With the folks that I've worked with, most have just had me set everything up for them, including their shipping, billing and tax information. I have had 1 or 2 clients that have had me create the accounts for them and then I just sent them directions for how to fill in their tax information, and I just supplied the username and password. <\/p>\n If I'm setting up a lot of accounts, I'll usually create a separate gmail account for them, and then when everything is done I'll give them a spreadsheet with all the usernames, passwords and login URLs to all their accounts (including the email) and will set up the gmail account to forward emails to their actual email address. That way they get something that's ready to go rather than having to create the accounts themselves or confirm email addresses for me before I can continue. <\/p>\n That said, if they have an account or want to do it all themselves, you can easily just hand over the MOBI file for them. I recommend just doing whatever your client is most comfortable with, and the easiest way to find out is to ask. It can potentially provide you with additional revenue sources; you could charge one amount to do the conversion and another amount to set up their accounts (I wouldn't differentiate between setting up an account w\/all their info or creating their account and having them enter tax information, though…)<\/p>\n<\/div><\/div> In general, I think that it is a good idea to keep separate areas of your business under different pen names, but there are a few ways to go about it. <\/p>\n If all of your books are going to be the children's books except for the one book that you use as an ultimate business card to promote your own business than it probably is not a very big deal if you use the same name for all of your books. If you think that you might have other business books, however, then I would either use a pen name or use a middle initial or something similar so that it still your name but you have a way of separating them out in the search results. That way if somebody goes to your Amazon Author page, you will have all the children's books under one version of your name and all of the business books under another version of your name.<\/p>\n If you are going to write in multiple genres and the audiences for those genres have a good chance to overlap, you can get away with using the same name. If they aren't a very close match for the type of reader, however, it's probably a better idea to use pen names so that Amazon will have an easier job promoting your books to people more likely to purchase them, which will in turn lead to them promoting your book more.<\/p>\n If you don't want to have books from different areas associated with each other even from an intellectual level versus just from the author's pages level, then I would use a completely different pen name. For example, I know somebody that has a series of children's books and also has a series of dark horror books, and he does not want the kids that are reading his children's books to be able to find a his horror books because they're meant for adults. In his case, he uses a completely different pen name for his children's books.<\/p>\n It really comes down to your own comfort level and how closely you personally want to be tied to any particular series or genre of books.<\/p>\n<\/div><\/div> The answer to this question has two parts, because it was something I needed to think about a bit before I could answer. I'm including both answers I provided to this question because I think both are valid.<\/p>\n My initial response:<\/em> My eventual response:<\/em> I'd still probably try to stick to my original quote if at all possible, but I would let them know that after reviewing exactly what work they'd need to be done that it would really cost $X. I'd tell them that I could do it at the price of the original quote but they really wouldn't get the quality product that they deserve. If I literally couldn't do it at that price, then I'd just have to tell them no, and if they raise a stink about it then it probably wasn't a customer I'd want to deal with anyway.<\/p>\n One thing to be careful about is to make sure that the person knows your actual price for what they're receiving. Even if I did do the job at the underquoted price, I'd still do as great a job as I could, but you don't want that person to brag about how cheap you are, you want them to talk about what great work you do. Make sure they understand that you won't be able to honor that price for other people so that they don't lead others to think you'd do work that cheaply for them.<\/p>\n This wasn't shared on the webinar as it had slipped my mind, but even though I stuck to my original quote with that Paleo in Maine book, he did actually give me a tip in his final check. I forget exactly how much it was without checking my records, but it was something on the order of an extra $50 or $100 which was a good percentage over what I'd charged him, even if it wasn't as much as I would have charged had I known what I was going to be doing for him or even had just started from a current quote and not one that was 6 months out of date.<\/p>\n<\/div><\/div> Hiring a virtual assistent is a big<\/em> step in growing your business…it can be a lot of work, it can be a large expense, but it can also catapult your business to the next level once you remove yourself as a bottleneck.<\/p>\n I used to have a full time transcriptionist in the\u00a0Philippines but wasn't overly impressed. She frequently disappeared for weeks at a time, the work was passable but not great, and as time went on it got worse and took longer. About a year after letting her go, I was emailed by a guy claiming to have been her boyfriend and the person who did the actual work and asking for me to hire him, but I told him that the work was barely passable and not delivered on time so there was no chance of that. \u00a0Now, I use a contract based transcriptionist; he does one thing, he does it well, and he's much more cost effective than having somebody local in the United States and does not have any overhead. If I have work, I send it to him and pay for it; if I don't, then there's no cost to me.<\/p>\n Having a VA (no matter where they are located) requires a few things:<\/p>\n First, you need to know what the VA is going to do. \u00a0That might be the end-goal of every task you want to get off your plate, but it should\u00a0start<\/i>\u00a0with something relatively simple and that can be given to a new hire a piece at a time so you don't overwhelm them. If you don't have a clear idea what you are going to be having them do, you aren't ready to start looking for somebody.<\/p>\n Next, you need a system for each task that you can hand off. \u00a0If you don't have a system, then it will be hard for you to give clear and\u00a0concise\u00a0directions, and it will be hard for you to evaluate whether the work was done right (or even if it was done at all, in some cases!) \u00a0If you haven't broken down your tasks into systems, then this is a good time to do so. You'll find ways to improve your own processes, and may discover you don't need a VA yet. You may also find that you aren't doing something as efficiently as you could be once you see the steps on paper for what is actually happening, and it is best to try to find the best way (within your abilities) to do something before offloading that task. Once you have a VA trained and used to working with you, you can let them develop new and improved systems for getting things done. There should be clear action steps and clear results that can be listed that answers a specific question. Think a check list (for action steps) and short answer questions (for results reporting).<\/p>\n Third, you need to have a way to train your VA in the system that you created to complete the task that you appoint them. Your VA will not be a mind-reader, and if they aren't native to your country they may not have the same cultural frames of reference or assumptions as you do. \u00a0Provide training in a clear way, preferably with some sort of demonstration (screencasts with jing are great for this!) \u00a0I think the biggest problem I've had with work I've outsourced has been that I haven't been clear enough in communicating\u00a0my<\/i>\u00a0needs and what I want to see as results.<\/p>\n Next, you need a way to vet your VA. Can they communicate? Can they follow directions? Are they trainable? \u00a0If you can't for sure answer in the affirmative to all 3 of those, don't waste your time on them. Specialized skills are less important. In fact, unless you\u00a0need<\/i>\u00a0a specialized skill (such as programming or graphic design), hire somebody that's trainable and doesn't have preconceived notions that may not agree with yours. You can always start out with a simple task or two, get them used to doing that, and then add new tasks as you go along as they become comfortable with new technologies and your workflows. \u00a0You may also want to consider using a service to find somebody for you; they can do the initial interviews per your specifications and then present 3 or 4 candidates for you rather than you having to wade through 15 or 20 people.<\/p>\n Last, be patient. \u00a0You\u00a0are<\/i>\u00a0going to have to spend some time getting your business ready for somebody else to step in and help out. You\u00a0are<\/i>\u00a0going to have to document your systems and training procedures so that you can hand off your tasks. \u00a0It\u00a0will<\/i>\u00a0take a while to find the right person. \u00a0That person will probably\u00a0not<\/i>\u00a0be the first (or even the second, or third) person that you hire. \u00a0Hire on a trial basis – if they can't get into your program and do the work for 10 or 20 days or a month or whatever the case may be, let them go and find somebody else, hopefully having learned some lessons each time.<\/p>\n Bonus tip: Learn local employment practices if you hire outside your country. Know the local holidays, local work schedules, what the 13th month is, local weather patterns and whether internet outages are likely and at what times of year, etc. You want to be sensitive to\u00a0their<\/i>\u00a0needs as well as your own. Especially if you hire in the\u00a0Philippines, you need to foster an environment where they feel comfortable asking questions (because I guarantee they won't!) A big problem is when they disappear because they are\u00a0embarrassed\u00a0to ask a question or admit they don't know how to do something. You'll need to check in daily for a couple months to make sure work is getting done and they are getting the training that they need. \u00a0Require a daily check-in by email that lists what was accomplished each day, the biggest hurdle or difficulty that they faced (and require them to fill that section out no matter what!) and what work was not finished. \u00a0Check in multiple times per week by skype if possible early on, and gradually reduce that to once per week minimum or whatever schedule you need to regularly need to discuss their goals on any given project.<\/p>\n<\/div><\/div> I just think that it's a shame that the United States isn't as forward thinking as some other countries (such as Canada) which provide them for free. \u00a0Bowker's goal seems to be to keep small players priced out of the market, which is why there is such a deep discount on higher quantities of ISBN numbers. Any advice that they give you is going to be the advice that results in the maximum quantity of ISBN numbers used within the rules of the international standards.<\/p>\n If you change the cover, you do not need a new ISBN since the text did not change. If you change the\u00a0title<\/i>\u00a0then you\u00a0do<\/i>\u00a0need a new ISBN as that is considered a new work. \u00a0You only need to issue a new ISBN if you make substantial changes to the text of the book, which would result in a new edition; a common guideline would be changes of between 15-20% of the work. So, correcting typos is considered a reprint and would be the same ISBN number; adding a few chapters of new material and revising existing material would be a new edition and would need a new ISBN number.<\/p>\n For me personally, I would not issue a new ISBN number if the content of the book remains the same and you are only changing front or back matter, especially if it is marketing text and not something relevant to the work (such as an index or glossary.) \u00a0Generally speaking, it won't make any difference which version of the book you buy if you only change a list of other books that the person should purchase, so it should not need a new ISBN. \u00a0It's just a reprint with some fixes, basically.<\/p>\n For electronic editions, there are two schools of thought. Each e-book edition (MOBI, PDF, EPub, HTML, DOC, etc) \u00a0should technically receive it's own ISBN number because the supply chain would need to uniquely identify each edition in order to ensure that a reader's device is receiving a format that it can read. This would be similar to the need for different bindings to receive their own ISBN number in print (i.e. softcover vs hardcover.) \u00a0Some folks are of the mind that you should have a separate ISBN for electronic editions but that you can use the same ISBN for each electronic format and not worry about it.<\/p>\n The\u00a0International ISBN Agency ruled in February of 2010<\/a>\u00a0that it makes the most sense from a supply chain point of view for each format to have their own ISBN number, but that there's a need for a separate number for tracking individual releases of the same book across formats. For me personally, when I begin expanding into markets where I need an ISBN number, I'm going to play it safe and assign a new ISBN to each format,\u00a0but<\/i>\u00a0my distribution strategy is still going to only require 2-3 ISBN numbers per book.<\/p>\n My suggestion would be to have an ISBN number for your paperback version, a separate ISBN for your hardcover version (if you create one), and one for your ePub version. You don't need an ISBN for Kindle as there are very few devices that read MOBI instead of ePub these days and Amazon is basically the only marketplace for them that I am likely to use, and so there is no need for a separate ISBN as Amazon provides you with an ASIN to uniquely identify the book. \u00a0Having an ISBN for the ePub edition, that book can then be distributed through the networks that require one.<\/p>\n Your copyright page should include the ISBN number for the edition of the book that the read is holding, but to simplify matters I would recommend including all relevant ISBNs that you assign to that book (denoting which edition receives which ISBN number) so that it would be one less piece of data to update and maintain between editions and avoids the error of including the wrong ISBN and not having the correct one listed.<\/p>\n<\/div><\/div> For my clients, I usually do my work for a flat fee, so if I'm setting up their account then I will either enter their banking information for them or have them enter it once the account is created.<\/p>\n For the client that I am paying royalties, then I have his Kindle books under my own account, and I set up a separate CS account for him under his name but with my company's tax information (this was before CreateSpace discouraged multiple accounts for the same person.) In the future, I'll probably just publish all books under my own main account if I'm paying out royalties (except for this one customer, obviously.)<\/p>\n My suggestion is that if you are working on a royalty arrangement, have a contract in place dictating who collects the royalties, how much they are for, and when payments will be made. I suggest that you (as the publisher) collect all of the payments and then distribute the royalties on whatever schedule is agreed on. Keep in mind that you don't get the payments from Amazon right away, potentially 60 days after a paperback sale and 90 days for a Kindle sale.<\/p>\n You may also want to review this FAQ question as well: Should I set up a client\u2019s accounts or have them do it?<\/a><\/p>\n<\/div><\/div> This is another question where the\u00a0real<\/i>\u00a0answer is going to be niche-specific. Just because people in one niche prefer buying kindle books doesn't mean that even the\u00a0same<\/i>\u00a0person wouldn't prefer a physical book in another niche.<\/p>\n That said, some\u00a0broad<\/i>\u00a0generalities that I've noticed in the niches I've been in and that I suspect hold\u00a0relatively<\/i>\u00a0true for most:<\/p>\n Since it's so cheap to hit both avenues, I usually would opt to distribute in both marketplaces. If you make sure that the books are mapped together in Amazon, then reviews for a digital version will appear on the physical and vice versa. \u00a0If I'm testing, then I'll usually opt for Kindle-only at first, because it is a bit easier and faster, and you can try different mediums (short works as single titles, multiple short works as a collection of titles, a single title with all of a group of short works, etc.) \u00a0Once I have a better idea for a marketplace, I can roll out a physical book.<\/p>\n Of course, for UBC-style books, I usually go physical first and often stay physical, since the point of those is to have something to hand people. One of my clients, we started with physical books because he probably still doesn't understand what kindle is other than that I send him a royalty check every month and that half the money from it is from the digital sales.<\/p>\n But, I guess the best advice I can give is to test your market and respond accordingly.<\/p>\n<\/div><\/div> Even if you have your own ISBN numbers and you want to have the book available for libraries then you'd need to use a CreateSpace ISBN as that is a stipulation for that channel of expanded distribution. How likely are libraries to be to purchase a copy? Standard distribution\u00a0and<\/i>\u00a0expanded distribution (with the exception of libraries and academics) are all fine with your own ISBN; it would only be limited by that one distribution channel.<\/p>\n The only way around that limitation is to not use CreateSpace for expanded distribution and to go with another service, such as Lightning Source or Ingram Spark.<\/p>\n If you are not going to promote your book heavily to libraries, you can make your book available through CreateSpace with expanded distribution and if it happens, then that's a bonus. If your strategy will include a lot of promotions to libraries (or book stores) then you should dual publish to both CreateSpace (and to turn off<\/em> expanded distribution) and also to Ingram Spark (or to Lightening Source if you have a large enough catalog.)<\/p>\n Your Amazon sales will be sold through CreateSpace, and all other sales will be made through IS or LS. This will give you a higher profit margin and more professional appearance.<\/p>\n<\/div><\/div> Sometimes, you want your books faster, or think you can get faster shipping for a cheaper price, or want to try to “bump” your sales ranking using purchases from Amazon. I don't see any problem with that and am not aware of any conflicts with the terms of service of either Amazon or CreateSpace (although I haven't looked into them specifically for that information.) For shipping considerations, I considered doing that myself until I realized that I didn't really need to.<\/p>\n CreateSpace prints & ships from North Charleston, South Carolina so depending on where you live you'll probably get the books much earlier than they predict on their website, especially if you live in the Eastern half of the United States. You can plug in 29418 to UPS to see what their estimated ship times would be – you'll have to guess on the weight, but I know that when I buy 20 books it's usually about a 9 pound box. Living in Maine, I usually get the books in about 3-4 days, and when I order for a client in Tennessee, it takes 2-3 days, with standard shipping from CreateSpace.<\/p>\n If you are purchasing from Amazon and taking advantage of “free” 2 day shipping using Amazon Prime, then you have to figure that your 40% cut from the list price is what you are actually paying for shipping. The production costs remain the same in both cases. It could potentially save you quite a bit if you are ordering a lot of copies of your book and you need them right away (Amazon allows you to order up to 30 copies in one order) but in most cases it will still cost you more than ordering with standard shipping.<\/p>\n For example, one of my books has a product cost of $3.17 and the lowest I can price it at and have it listed at Amazon is $5.29 (which results in my not receiving a royalty.) Here are the costs with the different shipping methods that I have available:<\/p>\n Unless I'm ordering 110 or more copies through CreateSpace and need guaranteed next day delivery, it doesn't make sense to use the Amazon trick. Remember that I can get the books in 3 or 4 days (including production) at standard shipping where I live, and obviously your books will be a different number of pages and potentially a different trim size, but in general it doesn't make sense to use Amazon Prime.<\/p>\n If you just want to pad your sales numbers, well, I wouldn't bother; it's an expensive way to do so, it will only last for a short period of time, and it's a little like gaming the system. Even if you won't be penalized now, it doesn't mean that they won't wise up to it in the future and ignore your purchase anyway, so I wouldn't use that as a reason for pulling the Amazon Prime trick.<\/p>\n<\/div><\/div> I reached out to customer support at CreateSpace, so here's their official stance:<\/p>\n So…you technically can transfer a title if you use your own ISBN or don't care if you lose your reviews by setting up a new page. Another option that you can use is to retire your title and create a second edition of the book in the new account. You can then contact support and have them link the two books so that people will see the new edition of the book and it will make more sense to readers on the site the difference between the two listings. They'll still be two different titles (technically) but it will be obvious folks should get the new version.<\/p>\n Personally, if I thought it likely that I'd want to move the book, then I would just set up a new account under the other person's name. You used to be able to have multiple accounts at CreateSpace but they changed their TOS to not really allow that – so you will need to use a different SSN or EID when setting up the new account. (As far as I know there's nothing to stop you from using the same information and just having a separate account, but it is usually a good idea to comply with a site's TOS to avoid problems in the future.)<\/p>\n No matter what you decide to do, if you set up an Author Central account for this book, I'd set up a distinct one from your account under that person's name. \u00a0You can create up to 3 pen names under one account, but I prefer to keep client books separate from my own where possible, and in Author Central there's nothing wrong with having a new account under that person's name so that it doesn't co-mingle with your own books.<\/p>\n<\/div><\/div> First, I'll preface this with the knowledge that I don't have any experience with alphabets other than the Latin one; in fact, I've only worked on one book that wasn't in English (a Spanish translation of an English book.)<\/p>\n For uploading to CreateSpace, I'd always provide print-ready PDF files; if you can avoid the printer from having to make decisions about how to print your book, you will be better off.<\/p>\n As for using the Chinese or other alphabets and characters, you should be able to embed them into the PDF document. In fact, I just called their customer support line to verify, and as long as you submit a PDF w\/all of the relevant fonts embedded in the file then it will print however you set it up in your PDF so that should not be a problem.<\/p>\n<\/div><\/div> I don't actually sell any of my books through CreateSpace, so I can't speak about their marketplace specifically and personally wouldn't worry about it.<\/p>\n For Amazon, it doesn't matter if the book is created by CreateSpace or not. If the book is amateurish and poorly constructed, it's going to get bad reviews. If it's a quality book, then people won't even notice, it'll just be the way that it is. Unless you smack people in the face with the “this book is self-published!” dogma, most people won't even know (or care<\/em>) if a book was printed by CreateSpace or somewhere else.<\/p>\n Exceptions might be for specialty books (such as full color photo books – with which I don't have any experience yet) that may or may not print as well, but for standard black & white trade paperbacks, people won't know or care where it was printed as long as it is easy to read and doesn't fall apart.<\/p>\n<\/div><\/div> Price-wise, there is currently no difference in price for the various trim sizes, and you can verify it directly with the sizes that you are thinking about on their “Buying Copies” tab for their book publishing info page<\/a>.<\/p>\n The price to ship from CreateSpace is the same no matter the trim size. All that matters there is where you are shipping your books and is based on quantity.\u00a0Click here for their rate table<\/a>.<\/p>\n<\/div><\/div> Resolution is basically the number of dots (for print) or pixels (for screen) per inch; if you want to increase the resolution from 72 to 240 or 300 dpi, then you can do that in some image editing software. However, if you don't at the same time make the image smaller then you will lose some quality in the image and it may not print as well.<\/p>\n In general, I ignore the CreateSpace warnings about image quality and just do my best to put an image that will print well into the document, and then tweak it if necessary after receiving a proof copy and I see how it actually looks.<\/p>\n Generally speaking, I'll figure out what the size of my image is going to be on the page, and will edit the image to be that size before inserting it into the document. For the sake of easy math, if I have a 720×720 pixel screenshot at 72 dpi, then it would take up about 10 square inches of real estate on my screen at actual zoom and the height and width would be the same as 10 inches by 10 inches. If I change the pixels per inch to 300, and want to maintain the same quality, then I can have up to a 2.4 by 2.4 inch image in the print book. Anything larger, and I'm potentially losing quality.<\/p>\n Many images will print just fine at a lower quality, however, so the best method is really to put the image into your document, ignore the warnings, and to order a physical proof to see what the image looks like when you are holding it in your hands. Even if you do have high resolution images, it isn't guaranteed to look good when you print it in black & white using Amazon's printers, so it's worth looking over every image carefully.<\/p>\n<\/div><\/div> All you need to do is insert the illustration into your Word Document and then save it as PDF. A few things that you'll want to bear in mind, though:<\/p>\n When you create your PDF document, it will record what font you are using so that CreateSpace can use it when printing your book. If it is a font that they have in house, then it will work no matter what, but a better idea is to embed the font into your PDF so that CreateSpace will have access to it and to make sure that they have the same version of it that you want to use.<\/p>\n How you embed fonts depends upon how you create your PDF files. If you use printer driver software (as the person who originally asked this question does) then it will depend upon the software if they have the ability to embed the fonts or not. You'll need to consult that software's support. If you just create your PDF files directly in Microsoft Word, then it's quite easy to embed your fonts; click here for directions from CreateSpace on how to do that.<\/a><\/p>\n<\/div><\/div> There is a difference between .doc and .docx files, but it is mostly a behind-the-scenes technical one that really isn't too important for the end user. For compatibility with collaborators (other writers, editors, etc.) you should try to save your files in the more modern .docx format when given a choice. <\/p>\n For uploading to CreateSpace, I'd always provide print-ready PDF files and would not try uploading any kind of Word Documents; if you can avoid the printer from having to make decisions about how to print your book, you will be better off.<\/p>\n<\/div><\/div> Color\u00a0is<\/i>\u00a0much more expensive, and from Jay's experience is much less consistent than black & white. \u00a0Basically, if your market can bear a price where you can make a profit with the higher production costs, or if a profit is less of a concern and you're still\u00a0able<\/i>\u00a0to price competitively, then it doesn't hurt to test things out and won't cost anything more than your time and a proof or two.<\/p>\n Your ability to price your book competitively will depend upon the minimum you can put your book onto the Amazon Marketplace for without receiving a royalty; namely, you can not price your book lower than 5<\/sup>\/3<\/sub><\/small> of the cost to produce the book because 40% of the retail price is reserved for Amazon's cut so you need to be able to cover the cost to print the book in at a minimum 60% of the retail price. Multiplying the cost to print by 5<\/sup>\/3<\/sub><\/small> is the same as multiplying the retail price by 60%. <\/p>\n The cheapest that you can print a color children's book (full color with bleed at 8.25″ x 8.25″) is $3.65 and that will cover between 24 and 40 pages. That means that you can't get it put onto Amazon for less than $6.08. If your market can bear a children's book priced at $6.08 or higher, then you could conceivably put your book onto Amazon. If you don't plan to sell through Amazon but only want to sell through other markets, then you only have to cover $3.65 plus whatever it costs to ship each book. <\/p>\n For comparisons sake, a similar book in black & white could be anywhere between 24 and 108 pages and would only cost $2.15 to produce and could be priced as low as $3.59 and still appear in Amazon's marketplace. That's less than the cost just to produce a color book at potentially 4½ times the page count.<\/p>\n As for Jay's books, he's only now putting his children's books into print, and has concentrated on Kindle up to this point. \u00a0However, his books aren't full-color children's books, they're basically a regular book that deals with childish material and includes images that are basically black & white already (the small bit of color used in his images isn't really necessary – if you use the “look inside” feature for his\u00a0Fart Book<\/a>\u00a0you'll see what I mean.)<\/p>\n Note that you still get a full color cover even if you have a black & white book, so for him it doesn't make sense to print in color anyway.<\/p>\n<\/div><\/div> You want to appear professional, and there are some standards that apply to the reading experience that may be little things in and of themselves, but readers will notice them (even if they can't tell what it is they are noticing) and will be able to tell if a book wasn't professionally produced. \u00a0So, here's some simple tips that are really easy to implement in your book to make it more professional that your competitors may not even think of (which means you'll have a higher quality product!)<\/p>\n That may seem like a lot, but after a book or two it will be second nature and it can help the appearance of your book a lot. \u00a0If you follow the above rules, most people may not even realize your book isn't self-published even if they are looking for that sort of thing.<\/p>\n<\/div><\/div> Accented characters aren't a problem with either KDP or CreateSpace. \u00a0For CreateSpace, make sure that the font you are using is embedded into the PDF and it will definitely print just fine. For Kindle, make sure you test your book using\u00a0Kindle Previewer<\/a>\u00a0because sometimes they can get mangled; I've actually written myself a little script that will replace accented or special characters with their HTML equivalents (it changes 119 special characters, so a u with a diaereses –\u00a0\u00fc – would actually be written ü instead in my document, for example.) I'm still trying to work out when kindlegen will mangle the letters and when it won't;\u00a0usually<\/i>\u00a0something that comes straight out of\u00a0WordCrusher\u00a0is okay, but if I edit it in my favorite text editor on my Mac then it almost always mangles the special characters.<\/p>\n<\/div><\/div> There are<\/em> other students from around the world, but I don't have access to the buyer's list, and if I did<\/em> have access I wouldn't be able to tell you who<\/em> is in your area due to privacy concerns. <\/p>\n If you want to network with others in your area, your best bet is to put a note up in the Apex Authors Facebook Group<\/a> and ask in there if anybody in the 10K Book Formula are from your country or time zone or state or region. Folks are more than welcome to volunteer their own information.<\/p>\n<\/div><\/div> If you don't live in the United States, then CreateSpace will withhold 30% of your royalties for tax purposes. This can be a bit excessive! <\/p>\n I don't have any experience with this as I live in the United States, but there have been a few methods in various programs that I've seen for getting an EIN (employer identification number) from the Internal Revenue Service (IRS) which allows you to avoid the withholding or to at least limit it to whatever the trade agreement is with your country.<\/p>\n One of the methods seems to be much more efficient than the others, and from the folks I've spoken with that have done this they've managed to get everything taken care of with a 10 minute skype call (about 25 cents!<\/em>) although one person did have to call back to speak to a second agent after the first wasn't willing to help him out for some reason.<\/p>\n If you are going to set up a book for a client in your own KDP account and will be paying them royalties for what they sell, make sure you charge some sort of premium on it. You have the additional book keeping, potential tax liability, and the extra task to complete each month. <\/p>\n I currently have one client that I pay royalties to on a monthly basis, and I wish that I'd set it up so that I only had to pay him once per quarter. <\/p>\n Make sure you keep good records for how much money you are collecting and paying out, and remember that while CreateSpace pays out on a net 30 at the end of the month, KDP pays out net 60 at the end of the month, so you are looking at potentially 90 days between the sale of a book and getting paid for it.<\/p>\n I'm not familiar with any sort of issues between the different countries but I haven't had international clients yet so I don't know if there are any specific gotchas that you need to watch out for. It's probably worth talking to your attorney or accountant and getting things set up ahead of time properly. For example, Amazon holds 30 or 35% of the royalties for taxes unless they have the tax documentation from international sellers, so if they are going to be selling a lot of copies of their books you'll need to make sure that you are not getting stuck with their tax bill.<\/p>\n<\/div><\/div> Lightning Source can<\/em> be a good resource, although Jay has no experience with them at all and while I've looked into them I haven't used them yet, so we can't get into much in the way of specifics. I'm going to share an email I received from Jill after our last training webinar that shares most of the details:<\/p>\n Hi Blaine,<\/p>\n I mentioned Lightning Source in the chat box on Wednesday. They are a huge competitor of CS! In fact, these two are always with war with each other \u2013 and at the same time, they have to make deals with each other because both are so big. LS is owned by Ingrams, the largest distributor of books in the world, and also the largest distributor to libraries. Because of their database, any tiny or large bookstore can order even POD books from them if someone goes into the store and asks for it, and the minute there is an order, that book goes into the public global database, even if it\u2019s POD. POD books sold exclusively through Amazon and CS don\u2019t enjoy that benefit.<\/p>\n Many, many of my clients print with LS. Many also print with CS. In my experience, LS is a notch above CS in quality. CS is just fine for books that they don\u2019t format. Their formatting services are terrible. I have had clients hire me for editing and then get a CS package for book layout and printing, and there are so many nightmares. One client had a proof sent to me to check (I only edited the book) and the first half of the book was actually someone else\u2019s book, and the second half was my client\u2019s. But that is one of the many stories I could tell.<\/p>\n BUT if the book design is done by a professional outside of the CS program, the stakes are much higher that you will have good results. So for the books being done in this course, with you doing the layout, or people doing their own, they should be fine.<\/p>\n CS has fewer paper options than LS. Neither has a very good reputation in printing and binding color books, but perhaps they will improve, because color is relatively new for both of them.<\/p>\n One more thing: In order to take advantage of both CS being owned by Amazon.com and LS being owned by Ingrams, many people sign up first with CS and use a unique ISBN for these publications because CS demands a unique ISBN. Then they go and create an account with LS and publish through them using a different ISBN. There is no trouble with this. It\u2019s exactly the same book. It\u2019s just working around the Amazon\/CS bullying system. Then, even when orders are made through Amazon, Amazon has been known to order from LS as well as CS!<\/p>\n The drawback with LS is that you can\u2019t make revisions as freely, because each time you upload a new version or a corrected version, they charge you $40, so it\u2019s actually a good idea to go with CS first and get all the kinks out and then sign with LS.<\/p>\n Hope this helps you and everyone.<\/p>\n All the best,<\/p>\n Jill<\/p><\/blockquote>\n Here is my response to Jill:<\/p>\n I haven't heard of any problems with LS first and then CS; Amazon is generally happy to have the business. But, I haven't used LS for much up to this point since the time I was looking into them was right before Amazon stopped treating them as favorably as they had been. If you are going to use your own ISBN anyway, then you can still go with CS first, but in that case I wouldn't use a CS-assigned ISBN so that you can future-proof your book. (And, if you do have your own ISBN, it's generally better to use it.)<\/p>\n CreateSpace also has printers in the UK, although you can't order directly from them. They're used if somebody purchases a CreateSpace through Amazon's European properties. For those looking to make direct purchases, that could be a viable option; I hadn't looked at the printing locations for LS before.<\/p><\/blockquote>\n I will say again that we can't really talk about the specifics of using Lightning Source, but you can learn a lot of information from their website and contacting their customer service, and if you do want to make use of them I'd recommend reading a book called POD For Profit<\/a> by Aaron Shepherd. I don't agree with everything in his book (and it is<\/em> a bit dated, at least the version that I've read) but it does describe the process of using Lightning Source pretty well. <\/p>\n Just bear in mind that now that Amazon is comfortable with CreateSpace they have definitely downgraded how they treat books provided from Lightning Source, so if you plan to sell through Amazon I'd also create the book through CreateSpace. Most<\/em> of your settings will still work but the bleeds and cover sizes do vary a bit so you will have to customize a little, and even if you are going with CreateSpace first you should still use your own ISBN if you plan to work with Lightning Source because you can not use your CreateSpace-assigned ISBN with any other printers.<\/p>\n Note that Lightning Source has now created a sister company, Ingram Spark, which offers many of the same features but is slightly more user-friendly and does not require as large of a catalog of books to get started.<\/p>\n<\/div><\/div> There are a few considerations when deciding whether you want to purchase your own ISBNs or not. First, if you want to save money and only plan on selling your books through CreateSpace and Kindle, then there is no reason not to just use the CreateSpace ISBNs other than for vanity reasons.<\/p>\n Having your own ISBN number is useful if you want to have your publishing company listed in Amazon. You can always list your own publishing company on the title page and copyright page of your book, but if you want libraries or for the listing on your Amazon sales page to have your publishing company then you will need to have your own ISBN. For most people, using the create space ISBN number will not be very visible and will serve their purposes fine without having to spend any money.<\/p>\n The cost of an ISBN very is widely depending upon what country you live in. If you live in Canada<\/a>, for example, then you can get your ISBN numbers for free because registration is handled by the government. If you don't mind spending a little time registering them, then you may as well take advantage of that program. In the United States<\/a>, ISBN numbers cost between $125 for one and $1 each for 1000 ISBN numbers. In Australia<\/a>, it costs $42 for one ISBN or $2.82 each if you buy 1000 ISBN numbers. You can determine where you purchase your ISBN numbers by choosing your country at the International ISBN Agency's website<\/a>.<\/p>\n If you ever plan on selling your books anywhere other than on Amazon, then you will not be able to use your CreateSpace ISBN number. The platform that you use may or may not provide its own free ISBN number, but if your book is one addition then it makes sense to have the same ISBN number for all places that it is being printed. In that case, you'll probably want to purchase your own ISBN numbers.<\/p>\n If you are publishing multiple editions of your book, you will need a different ISBN number for each addition. For example, a hardcover and softcover book will each need their own ISBN number, as well as the audible version of the book and the e-book version. If you are only selling your e-book version through Kindle, then you will not need an ISBN number at all as Amazon does not require it.<\/p>\n There is definitely value in having your own ISBN numbers for branding your publishing company. However, when you are starting out it is not something that is a very high priority. I would recommend holding off purchasing your ISBN numbers until you have a lot of business and it makes more sense for your publishing company. You may find that you don't need to purchase them at all; John and Jay have not purchased their own ISBN numbers yet and they have hundreds of books for sale on the Amazon marketplace.<\/p>\n<\/div><\/div> For books that you want to sell through Amazon, then yes, you should still use CreateSpace. They offer a standard distribution in the United States and a European distribution option that you can enable, both for free, and books sold on Amazon in Europe will<\/em> print and ship from Great Britain or other European printing centers so you can hit those areas of the world relatively easily.<\/p>\n\n
\n
\n
\nPersonally, when I've underquoted, I've just treated it as a learning experience and make sure not to do it again and hold to that price for that job (but I obviously wouldn't offer that same price even to the same customer in the future.) I have never quoted something that is below my actual costs, so when I've made mistakes like this I've basically just spent time working for a lot less than I'm worth. The Paleo in Maine book from my presentation yesterday is an example of that.<\/p>\n
\nI spent some time thinking about it and talked to Jay and to one of my business mentors up here in Maine, and here's how I'd handle the situation if it happened to me in the future.<\/p>\n\n
CreateSpace<\/h3>
\n
\n
\n
\n
\n
International<\/h3>
\n