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Author Earnings
In what is perhaps the single most telling example of why the traditional publishing fails to address the needs of authors, The Guardian posted an interview with Phillip Jones, editor of the Bookseller, and Nicola Solomon, general secretary of the UK’s Society of Authors. While the Bookseller is a publishing industry news source and the Society has recently spoken out about the poor contract terms that traditionally published authors are forced to accept, both representatives made some laughable remarks about both self-publishing and the Author Earnings reports in particular.

According to the most recent report, self-published titles make up more than one-fourth of the books published on Kindle, yet indie authors make 40% of the royalties, which is more than the Big Five publishers receive combined. Despite having fewer books published, these authors earn more.

But Jones dismissed the AE report on the grounds that (wait for it), we don’t really know who this “Data Guy” is who claims to work with author Hugh Howey on compiling the numbers.

Yes, Jones is willing to overlook the multitude of pie charts and bar graphs that are included in every single AE report, and instead would prefer to shed a disparaging light on the source of the mathematical equations. Jones actually implied that “Data Guy” may be just an Amazon employee whose mission is to spread bad information about traditional publishing.

“The fact that we don’t know who this ‘Data Guy’ is or where he’s come from suggest that we should take the Author Earnings report with a large pinch of salt,” Jones said. “I think of it more as part of Amazon’s PR effort, rather than an objective overview of the digital marketplace.”

Of course, never missing an opportunity to bad-mouth Amazon, Jones continued by saying that Amazon holds all of the sales data and refuses to share it, so how can anyone possibly make a sound decision? As though the traditional publishers don’t know how many books they’ve sold and also aren’t sharing that information?

Solomon was slightly more forgiving as she applauded Howey’s efforts to arm authors with solid data and knowledge, but even she went on to state that publishers earn a significant portion of their revenue from print sales, and Author Earnings only takes into account ebook sales. This is true because most indie authors will earn more from their ebook sales than print.

What Jones and Solomon didn’t grasp is that this isn’t about publisher revenue, it’s about how much of that revenue trickles down to the authors. While Big Five print titles, for example, may sell more than the average indie author’s work, a self-published author has to sell far fewer copies than a traditionally published author to earn the same amount of income. Solomon did graciously point out that publishers’ royalty terms barely produce a living wage for authors, and that change needs to happen before traditional publishing becomes obsolete. What the industry hopefully will recognize is that change doesn’t have to happen as long as authors are kept ignorant of the possibilities for better royalties and equal sales, a fact that AE reports are trying to remedy.


Amazon has officially launched Kindle Unlimited, a US based service that has 600,000 eBooks and audiobooks available at $9.99 per month. The Seattle based e-commerce giant is now competing against companies such as Oyster and Scribd, which have friendly terms for self-published authors. Is Kindle Unlimited viable for indie authors and is it worth it to make your titles available?

In order to be enrolled in Kindle Unlimited, indie authors must opt into the Kindle Direct Publishing Select program. This allows you title to be showcased in the Kindle Lending Library and made available for people to read for free. It also provides many advanced tools, such as free promotional pricing. KDP Select authors are automatically enrolled in Kindle Unlimited and this is how it works. If someone reads your eBook past the 10% mark, you will get paid on average about a dollar. The money is paid from a revolving pool of revenue that Amazon has on a monthly basis. They inflated the pool an additional $800,000, bringing the total allocated funds to $2.9 million. The royalty payments actually pay up to 70% of your list price if eventually someone from Japan, Brazil, India, or Mexico read your book.

In order to enroll in Kindle Unlimited you have to exclusively publish your title with Amazon for 90 days. This means, if you also have your book listed on Nook Press, Kobo Writing Life or Smashwords, you have to remove it or Amazon will ban your book. Unlimited basically forces authors to exclusively publish with Amazon and forgo earnings from alternative sources.

According to many reports Amazon earns $5.25 billion dollars from current annual book sales. This results in them controlling 65% of the US eBook market, with only Apple, Barnes and Noble and Google having a minority share.  Amazon has publically stated many times that self-published books make up 25% of the top 100 list.

Unlimited is only being launched in the US right now and this results in a limited audience to offset an author’s ability to earn revenue from international sales. Being able to sell your book on a worldwide stage, can equate to big bucks.  Barnes and Noble makes their self-published titles available in many countries in Europe and Kobo has the largest footprint of all.  Smashwords also distributes titles to many markets, piggybacking a bunch of companies. Sadly, compared to Amazon, they do not earn as much as Amazon generates with kindle book sales.

Many industry experts are very much against the Kindle Unlimited program, saying it hurts indie authors. Mark Coker, CEO of Smashwords had this say – “For all of Amazon’s good deeds, it does not mean we indies should kiss their feet unconditionally. Their business methods are not beyond reproach. We should encourage a healthy debate about Amazon’s practices and how they can do better for authors and readers. I can admire Amazon yet still oppose exclusivity. We should also recognize when Amazon’s business interests don’t align with author interests.”

Joel Becker, chief executive of the Australian Booksellers Association stated ”I am concerned about author royalties. Authors are already getting a smaller cut when it comes to eBooks and when you look at the music subscription services, it is the music companies who are making money and the artists who are getting less.”

Is Unlimited good for indie authors? I would say yes. Amazon has not signed any of the big publishing companies, so that means you aren’t competing against the James Pattersons or Neil Gaimons of the world. Instead they are only doing business with Algonquin, Bloomsbury, Houghton Mifflin Harcourt, Open Road, Scholastic and Workman. Amazon intends on paying them a wholesale rate for each title opened and read, so indies might actually make more money.

Amazon’s Kindle Unlimited, the ebook and audiobook subscription service that lets members pay a flat monthly fee for unlimited access to its catalog, went live today, offering users a thirty day free trial and the option to pay $9.99 a month for the service. According to a press release issued by Amazon, the service is compatible with both Kindle reading devices and tablets, as well as through the Kindle reading app on other popular brands of mobile devices.

“With Kindle Unlimited, you won’t have to think twice before you try a new author or genre—you can just start reading and listening,” said Russ Grandinetti, Senior Vice President, Kindle. “In addition to offering over 600,000 eBooks, Kindle Unlimited is also by far the most cost-effective way to enjoy audiobooks and eBooks together. With thousands of Whispersync for Voice-enabled audiobooks to choose from, you can easily switch between reading and listening to a book, allowing the story to continue even when your eyes are busy. We hope you take advantage of the 30-day free trial and try it for yourself.”

In the most interesting news about the launch, the Unlimited catalog–which features 600,000 ebooks and 2,000 audiobooks–automatically includes self-published works that authors have listed in Amazon’s exclusive program, KDP Select. However, any author who wishes to unenroll from KDP Select to avoid including his titles in Kindle Unlimited may do so immediately, without having to wait for the ninety day period.

Amazon representatives told Good e-Reader this morning: “There are many self-published titles in the catalog. If you have a book enrolled in KDP Select, it will automatically be enrolled in Kindle Unlimited. If you do not want your books in Kindle Unlimited, you have the option to immediately remove your book from KDP Select. To do so, please include the ASIN for your book when you complete this Contact Us form. We will remove your book from KDPS right away and contact you to confirm. You can see our forum post on the announcement for KDP authors here:”

Self-published authors will be compensated in much the same way as they are when consumers borrow their books through the Kindle Owners’ Lending Library. When Kindle Unlimited customers read at least ten percent of an indie author’s book through the service, that will count as a “read” for compensation from the KDP Select Global Fund, just as if a non-member had borrowed the title through KOLL.

As an added incentive for membership, readers who join Kindle Unlimited will also be given a free three-month membership to Audible to try out their catalog of over 150,000 audiobooks. Full details on the service and the free trials can be found at

Author Earnings, who has a two-fold mission that encompasses supporting authors of every publishing path, has released a new report, this time looking not only at the data so far up to July 2014, but also mapping out the trends that the data can help identify.

The comprehensive and exhaustingly complete report provides graphs on a variety of factors in publishing, all aimed at determining where the sales are taking place, how the bestseller lists are ranking works, discovering how authors have been compensated for their books, and more.

“It’s too early to distinguish between global trends and seasonal trends, but the percentage of ebook dollars going to indie authors has crept up for two straight quarters. There could be movement in the opposite direction as the Holidays approach. While it should be a jolt to see that indies are earning nearly 40% of the ebook dollars going to authors, we are starting to take this reality for granted. That’s real progress. As it has proven to be in other fields of entertainment, the indie movement in literature is not a blip and not a gold rush. It appears to be here to stay.”

The July 14th data showed that Big Five publishers’ titles accounted for only 16% of the books on Amazon’s bestseller list, while indie authors, small to medium presses, and publishers who’d produced only one book accounted for 83% of the bestsellers combined, across various genres of fiction and non-fiction.

In what is an interesting snapshot of the data that should put to rest any nasty rumors that Amazon is trying to ruin the book industry with its traditional publishing imprints, only one percent of the bestsellers were published by Amazon Publishing. This speaks to the company’s commitment to launch books they believe in while not necessarily pandering to the “push what sells” mentality that has plagued the traditional publishing industry.

The remainder of the complete report is available HERE.


During the e-reader boom period from 2009 until 2013 many people got switched onto digital. Online bookstores did record business and many new entrants came to the market, offering their own self-publishing systems. One of the tools that authors employed to get their book out there was giving it away for free. Whether they made it free for a short period of time or did it from the beginning, people downloaded it in droves. New research is suggesting that giving your eBook away for free might not be effective anymore.

Apple owned iBooks was the focus of a recent case study and the data said that for every one book purchased, 39 were downloaded for free. In prior years the gulf between free and paid was even more pronounced. In 2012 it was at a 91:1 ratio and in 2012 100:1.

The digital book market is certainly not sick — it’s growing robustly. Overall, online book sales were up in 2013 by 3.8% for total sales of $1.3 billion.

Self-Published authors are beginning to realize that the concept of free is declining. It is no longer effective to give it away for free and expect a ravenous flock of readers will devour it. After all, even Microsoft is giving away 300 free eBooks, and they hardly have any downloads.

If free is no longer working, what are the price points that are most effective for sales? The report revealed that $2.99 and $3.99 were a popular price point.

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Despite the fact that Fifty Shades of Grey is old news–at least the book, the film doesn’t release until Valentine’s Day next year–and the door to free publishing of adult content has been thrown wide open since EL James’ book took newsstands by storm, critics are still claiming the downfall of human society due to the abundance of explicit content. Interestingly, it seems that only men are having serious issues with the fact that women write and read more adult-themed material in the mainstream.

There are a number of odd characteristics at play with criticism of erotica. First, it’s really nothing new. The fact that title like Grey can be purchased in Walmart are certainly different, but erotic literature has been around and available to those who knew where to find it for literally thousands of years.

What may be more astonishing–and therefore upending–to literary critics is that women are now the top-selling authors by far on a number of book retailers’ sites and self-publishing platforms, including Smashwords and Kobo, largely due to the popularity of romance and erotica. Names like EL James are often found beside Bella Andre, Barbara Freethy, and HM Ward, just to name a few, and these women command many of the highest grossing spots at the moment.

Adding to the confusion for vocal wet blankets is the fact that romance writers and fans can no longer be lumped into the stereotype of the discontented, underappreciated housewife who sits in her modest home and devours these stories as a means of escape. According to an article for Pacific-Standard, Hilary A Hallett revealed that more men than ever are reading erotica, and that 42% of romance fans have at least a bachelor’s degree, which is higher than the average of 30% of women nationally who hold the college degree.

However, Hallett points out that despite the income potential of the fans and the bestseller status of the female writers of the genre, it continues to be an overwhelmingly male population of critics who callously dismiss the genre and its readers. And with the income potential of both female authors and self-published authors on the rise, it’s no wonder that mainstays of the industry are looking for ways to dismiss and discredit the popularity of a model which they don’t understand and cannot fathom appreciating.

Thanks largely to Hugh Howey’s recent post about the need for organizations that truly work on behalf of authors rather than their own self-interests, serious discussion has opened up about the need for a better structure that works to speak up for writers and their work. Organizations like the Author’s Guild have recently been questioned as their interests lie in furthering the traditional publishing industry, rather than the acceptance of all writers.

But one organization in the UK, the Society of Authors, has stated in an interview with its head Nicola Solomon that the validity of the traditional publishers is questionable and goes so far as to state the traditional publishing as a whole is no longer the most viable option for authors. As Solomon said in an article in The Guardian, current contract terms are often unfair and it is no longer the most sustainable model.

The UK has long experienced a greater level of transparency in terms of actual sales figures than the US market, and several authors have come forward to outline exactly what they’ve earned from the sales of their books. In the US, authors are contractually barred from discussing their sales, and even indie authors can violate the terms of service for ebook retailers’ platforms if they speak out about their earnings.

As UK authors aren’t legally bound to stay quiet, several authors told The Guardian how small their actual book earnings were under the traditional publishing model, which led Solomon to make the point that the traditional industry is not working in authors’ best interests. Authors’ income is actually decreasing, while publishers continue to post high revenues.

But the most telling point in the article is this one:

“Self-publishing, meanwhile, is becoming an increasingly attractive option for writers, according to the [ALCS] survey, which found that just over 25% of writers had published something themselves. Writers were investing a mean of £2,470 in publishing their own work, with the median investment at £500, and typically recouping their investment plus 40%. Eighty-six per cent of those who had self-published said they would do so again.”

Unfortunately, there are still a number of organizations who loudly further the belief that self-publishing is neither accepted nor viable, and therefore caution authors away from the income potential of indie authorship. Data from the reports and the ALCS survey will hopefully help authors understand that there are many options open to them, and that all of them have their merits.

Wattpad announced a new acquisition to its growing family, this time in the form of traditionally published author community Red Room. Not to be confused with the reference from Fifty Shades of Grey, Red Room served as a bridge to connect readers and authors in a space that welcomed discussion surrounding books.

With this acquisition, Wattpad welcomes the Red Room readers and authors to its 30 million member site, increasing not only the membership but the scope of authors who participate in writing and discussing on Wattpad.

“When I launched Red Room in 2008 I wanted to break down the walls between readers and writers. I’m thrilled Red Room authors have found a new home in a friendly and supportive global community,” said Red Room CEO and Editor-in-Chief Ivory Madison in a press release.

“Wattpad welcomes writers from all walks of life. By welcoming Red Room authors, we will further diversify the community and solidify our position as the best place to read and share stories across every genre,” said Wattpad Co-founder and CEO Allen Lau.

Red Room’s members can automatically migrate their accounts over to Wattpad and join the community instantly, seeking out new readers and new book discussions as they also post and share their work with the users who spend a combined 6 billion minutes a month reading on Wattpad. The site, which sees an additional 200,000 stories posted each day, fosters this sense of community that Red Room was initially created for.

Verdict: 4 Stars

Despite Good e-Reader’s focus on digital publishing and ebooks, when the chance to review this title came along, we took it. More than just because it was written by an indie author and we support the efforts of people who are revolutionizing publishing, this book was selected because the genre of memoir is so disergarded by the publishing industry to the point that they almost won’t publish your life story unless you’re a celebrity.

Kim Kardashian tell-all? Yes. Story of a man who cut his own leg off then crawled through a frozen wilderness to survive? Meh.

In this title, Gary Edinger explains in the first person his horrifying tale of survival, including the fascinating transcript of the 911 team who stayed on the phone with him after he finally got to his truck and attempted to drive while losing so much blood that he often made no sense during the call. But before getting to that point, Edinger outlines an incredibly clear, in-depth picture of his family’s roots in the Yukon River region, generations of whom made their living through logging, hunting, and trapping, and filled their leisure time with sled dog racing. It’s as if Jack London decided to wake up in the middle of the twentieth century and start writing again.

While Edinger may not be a celebrity or other person of note, this is the kind of story that draws readers in and fascinates them, despite what the publishing industry would have us believe about the marketability of a book. True, I don’t know Edinger’s great-great-grandfather and I don’t really have any reason to care, except that the stories surrounding the author’s past are what shaped him into the person who tried to staunch the flow of blood with his belt, only to have it break due to decades of use and the minus-20 degree temperatures that day. What did he do when the belt broke and he couldn’t use it as a tourniquet for his leg? He kept going, finally getting a manual transmission truck started with only one leg, a leg that was arcing blood with every heart beat.

As a reader I found myself rooting for him, despite the obvious fact that I knew he had lived to tell his tale. It was heartbreaking when he realized how far he still had to drive to get help and might not make it, and instead told the 911 operator to tell his wife he loved her and to tell his kids he was proud of them.

I do wish the publishing service Edinger had relied on had a sense of the value of ebooks and a good cover, as well as the need for a great blurb on retailers’ websites. Those issues can be overcome, and I hope the author chooses to do so.

Will to Live: A Saga of Survival is available from Amazon and Stonydale Press.

The end is almost near for this year’s Amazon Breakthrough Novel Awards, hosted by Amazon and CreateSpace. A contest that began in January with 10,000 entries from authors across a spectrum of genres has now been whittled away to just five finalists. At each stage in the contest, the field of entries is narrowed dramatically, leading up to today’s announcement of the five winners in each category. At this stage, the winners will now go to a reader vote for the grand prize award.

Today’s winners include:

General Fiction: A Pledge of Silence by Flora Solomon, Southport, NC

Mystery/Thriller: The Dead Key by D.M. Pulley, Shaker Heights, OH

Romance: The Bluestocking and the Rake by Norma Darcy, Canterbury, Kent GB

Science Fiction/Fantasy/Horror: The Mengele Effect by Chuck Grossart, Bellevue, NE

Young Adult Fiction: Seashell, Stork and Apple Tree by Carrie Anne Noble, Montoursville, PA

Four of these five winners will be awarded a publishing contract with Amazon Publishing and a $15,000 advance. Once a grand prize winner is selected, that author will receive a publishing contract and a $50,000 advance.

To reach this stage, panels of judges made selections based on a variety of factors depending on the point in the process. The initial eliminations were based on the all-important “pitch,” whereas later eliminations were decided by full reads from Publisher’s Weekly reviewers (participants who had advanced to that stage were provided with the PW review of their works). Final eliminations were made based on the decisions from a select panel of judges.

“In traditional publishing paths, writers can wait years before receiving feedback from a publisher on their work,” said Terry Goodman, Editorial Lead for Lake Union Publishing and an ABNA panelist judge. “What I love about this contest is that the 10,000 entries stand shoulder-to-shoulder and are all considered for publication. We get to press fast forward and make an author’s dream come true, helping these writers break through and find an audience. And Amazon customers play a role in giving a novelist a life-changing publishing deal.”

The final judging will be at the hands of the most important people in the book industry: the readers. Readers are invited to vote starting today and continuing through the end of the voting period on July 18th. In order to vote (or for complete ABNA rules and information), visit

Self-publishing and ebook distribution platform Smashwords announced this week the results of its annual survey which tracks sales for the previous year and compiles an intense look at trends in ebook retailing from the data. Each year, this data has provided an in-depth understanding of how reading consumers are behaving in regards to their ebook purchases.

Some of the key points of this year’s survey include:

* Ebook Sales power curve is steep, yet incremental improvements in sales rank can result in exponential sales increases

* Readers prefer longer books (this is the 3rd year in a row the data confirmed these findings)

* $2.99 and $3.99 appear to be the sweet spots when it comes to unit sales and earnings potential

* “Free” books still a valuable marketing tool, but not as strong as it used to be

* Preorders are a remarkable best practice for indie ebook authors, but most authors not yet taking advantage of the tool

Mark Coker, CEO and founder of Smashwords, explained two new data points in this year’s survey, gauging the impact of the new pre-order feature and the way series titles were impacted in all of Smashwords’ distribution channels.

“This year, we break new ground with more data, including survey questions that explore preorders and series, two categories of inquiry that weren’t possible in prior years. These latter two categories were enabled by Smashwords’ introduction of ebook preorder distribution in July, 2013 and our new Smashwords Series Manager feature which allows us to capture, analyze and share the performance of series books.”

One final interesting point was that the survey really tried to uncover what causes a book, author, or story collection to get that “viral” edge that has everyone talking and sharing. While even Coker states that there is no magic formula that will propel an author’s work to the top of the bestseller list, there are important factors that provide all the tools a book needs to get noticed.

The most intriguing information to come out of the survey was the finding that longer books sell better than their mid-sized or shorter counterparts, which can’t only be attributed to perceived value. With so many industry experts warning authors that they have to give their audiences compelling content that will keep them reading, it only seems logical that readers want to invest their time and attention–not just their money–in a book that will draw them in and remain entertaining.

Coker’s report on the survey findings and his slideshow presentation on the survey data can be found HERE.

There are a few groups out there that claim to be the voice of advocacy and support for authors. Chief among them is the Author’s Guild, an organization that actively works to block self-published authors from its inner sanctum by imposing hefty sales requirements before indie authors can join, thus making them a retailer’s guild, rather than an author’s guild. There’s also the newly formed Author’s Alliance, although their noble cause of furthering open access is more appropriate for non-fiction authors of academic publishing. In an interesting aside, I do wish to point out that I cannot get behind any group that doesn’t move the apostrophe to reflect that they represent the plural of “author.”

Before this rant goes any further, I would like to point out that the Alliance of Independent Authors and the Writer’s Guild (again with the singular possessive, but I digress) do great work for their members, but both have their limitations and their highly specific mission goals. This is the very reason that self-publishing success story and vocal champion for indie authors Hugh Howey has suggested the formation of an actual union for indie authors.

Well, that and the fact that a lot of people seem to have a lot to say about the battle between Amazon and Hachette, and that those who support the publisher don’t actually know what they’re talking about.

Howey published this POST on his website that explained some of the disillusionment behind these so-called advocacy groups that speak for authors without ever actually consulting authors. Howey summed it up best when he said this:

“Groups like the aforementioned SFWA have minimum requirements for membership. I think there should be maximum requirements for representation. That is, once your earnings hit a certain level, your rights are no longer the focus of the group. Those rights might align at times with the focus of the group, but it won’t be an active concern.

“Why? Because labor unions shouldn’t exist to win raises for the managers and the foremen. They sometimes devolve into this, and that’s the beginning of the end of their usefulness. Our guild long ago subscribed to that philosophy. I like to think it happened unintentionally and innocently, bias building upon bias, closed rooms echoing, monocultures spreading. I think some of the people who have it all and are fighting for more aren’t bad people; they just aren’t exposed to enough dissenting opinions. Many of those fighting for Hachette have no clue what is happening in the publishing trenches right now. They’ve been in tents with generals for far too long.”

Truer words in publishing haven’t been spoken in a long time. The traditional industry is fighting with all its might and enlisting the help of entities that once had authors’ interests at heart (note the placement of the apostrophe on the plural form of “author”), but who now cater to the powers that are still trying to hold court over the industry.

What does Howey want, and what do authors want?

They want to know that their voices will be heard, not just from the mouthpieces who have stepped in and claimed to speak on their behalf, and not just from the people whose job it is to ensure that the pockets are lined. There should not be requirements for membership in an authors’ organization other than having written something. Writing and selling are two very different aspects of publishing, yet no one has stepped up and admitted owning the Author-Retailer’s Guild. In order to know which entities are actively working on behalf of authors and readers alike, the powers that be must be replaced with organizations that actually work to further literature of every kind.

Photo courtesy of

There are a wide variety of tools available on the market that put more power in authors’ hands, letting them do everything from market their work to create new formats for their content. Unfortunately, there are an even wider variety of products that don’t do much at all.

One of the tools that does stand to support indie authors’ by making their ebook development process even easier is a WordPress plug-in called MyPublishingAssistant. These feature streamlines the process of the increasingly popular blog-to-book, which lets authors take their already publishing WordPress content and assemble it into a publishable print or ebook title. Developer Alex Anders spoke to Good e-Reader about this tool and its features.

“I’m a big believer in maximizing every possible sale. As authors, we know that the person who is most likely to buy your newest book is someone who has purchased your older books. They’re return customers. If you can find readers to purchase your back catalog, you’ll sell more books. This software has a page devoted to your previous titles and you can create direct links to where you sell your different ebooks and your paperbacks.”

The plug-in, which is not strictly applicable to blog-based books but is compatible, lets authors enter all of their information once, such as name, backmatter, and more, then apply it to any future titles through an easy to use drag-and-drop process. One added feature of this plug-in is the ability to store a previous version and simply add to or swap out the content, which is especially helpful for authors with more than one title on the market. As it is always a good idea to advertise previous books in a new title, this makes it easy to store reviews, mentions, awards, excerpts, and more.

“You can design exactly what you want your layout to be, but then six months down the road you can change it easily. Or you can use it to create different versions of your book, such as to meet the requirements for Smashwords. You can use the exact same file in your Kindle layout, and then in your Smashwords layout, then choose to put it out in doc, PDF, MOBI, ePUB, or HTML.”

The plug-in and a number of tutorial videos can be found on the website, but this feature is currently only available for self-hosted WordPress sites that accept plug-ins through

“It’s just made the entire process exceptionally easy. Before, you had to go to your Word document and copy and paste the contents into your template. I found a coder and I was just initially going to do this for myself, but then I spoke to another author and was telling her about it, and she suggested this could improve the process.”