Posts Tagged Indie Bookstores

Another Point of View – Thank You Richard Krawiec

Richard-KBack in the 1970s, when I roamed the aisles of bookstores in Boston and Cambridge, all bookstores were independent. I loved browsing shelves where classics, modern writers, and obscure authors published by equally obscure presses stood side by side, all presented as works of equal value.

Every bookstore seemed run by an odd man, sometimes stoop-shouldered, sometimes bearded, who got just as excited talking about literature as fans of college basketball do about the NCAA tournament.

As a young writer these bookstores were refuge and home, a place where the breadth of choices and the knowledge and enthusiasm of the people who worked there gave me hope for my own life as a writer. Readings were rare events, occurring once every few months, and they were always packed. Everyone who attended bought the author’s book in lieu of a ticket for the reading. If you didn’t like the book, no matter – you could trade it in at a used bookstore later. The important thing was to support the bookstore and the writer, whose successes appeared intertwined. We were all part of the same community, the same family.

Through the years I continued to support indie bookstores. I remember visiting Quail Ridge Books in Raleigh when they actually were in Quail Ridge, and had foot traffic of about 12 people a week. When they moved to bigger digs on Wade Avenue, I started their Angel Tree, even hand-delivered the books their customers purchased for children in housing projects in Southeast Raleigh.  It was a good program, serving the needs of both the bookstore community and the larger community.

As a published writer, and now publisher of Jacar Press, I have always supported indie stores. In turn, they have been generous to me and my authors in terms of hosting readings, ordering books. Although my experiences have been for the most part good, I can’t help but notice it hasn’t been the same for all indie authors and presses. The mutual community feel of writer-press-bookstore is changing. Increasingly, independent writers, especially younger ones, and independent presses, don’t feel a sense of loyalty towards independent bookstores. They don’t feel support is mutual. I think this is bad for everyone involved.

Writers and publishers need allies. They shouldn’t turn their backs on stores that have historically supported them. Bookstores, as their customer base ages, need to bring in new customers committed to them. Indie stores can’t afford to lose what has always been a solid core of customers. With the advent of chain stores, Amazon, ebooks, and the explosion of MFA grads and self-publishing options, all indies (bookstores, publishers, writers) need to find ways to strengthen their relationships.

The crux of the situation seems to be this – indie presses and writers often feel under-supported by their local indie bookstores. Bookstores in turn feel indie writers and presses don’t understand the realities of marketing, distribution and bookselling.

Jamie Fiocco at Flyleaf Books in Chapel Hill says indie stores need to be able to “get the books at a reasonable discount, reasonable shipping and reasonable returns policy. Best case scenario, get the book available at a regular discount and returnable at the wholesalers.”

Her comments are echoed by Tom Campbell of The Regulator in Durham, who pointed out, “Bookstores have cut back on their help and where this shows up most is in the office. It’s really time-consuming to write one check for $20 to this press, another for $30 to that press. It’s easier to write a $500 check to one distributor.” He says indie publishers should be listed in the American Booksellers Association’s on-line Book Buyer’s Handbook (also known as “The Red Book”). “This is the go-to place for independent booksellers to find out how to order books, terms of sale, etc.”

Which, say some indie publishers, is a major part of the problem. Most distributors still want publishers to print up press runs of 2,000 or more, and do offset printing, which is far more expensive than digital. Often distributors charge publishers up to $500 to set up an account, then monthly fees to maintain it. On top of that, they take 15-25% of sales, on top of the 40% bookstore discount. Which means the publisher might only receive 35% of the cover price for each book sold. Plus the publisher pays to ship the books to the stores, and when unsold copies are returned. The cost of having your books handled by a major distributor is prohibitive for many indie presses.   But without a relationship with a major distributor, small presses are required to have at least three titles currently in print and consistent discount and returns schedules for all independent bookstores in order to be eligible to be listed in the ABA “Red Book” database.

Kevin Morgan Watson, Publisher of Press 53, believes “Too many independent booksellers are looking at national sales databases to determine what they should carry, rather than getting more involved with what is also going on regionally and locally to round out their offerings. This would create more sales and a wider customer base. Marjorie Hudson’s story collection, Accidental Birds of the Carolinas, has sold 2,000 copies, over 400 of those at two stores in the Triangle [the Raleigh-Durham-Chapel Hill area of North Carolina]. Why aren’t other stores selling this book? Because they have convinced themselves there is no market for short stories and by doing so have lost those readers to Amazon and other online booksellers.”

Mention Amazon and you’re sure to draw the ire of every indie bookstore owner. Conversely, most indie presses and authors say a presence there is a necessity given the realities of the market. But indie bookstores feel publisher and author giveaways and 99-cent specials on Amazon undercut their ability to sell print copies of the same books. Indie presses see it differently. Since out most of these sales books aren’t even shelved by the bookstores, how can ebook sales be taking bookstore customers? Not all writers favor selling their books at a deep discount. Although the rationale for giveaways holds that these specials increase one’s audience base down the line, some indie writers believe the opposite. They refuse to participate in free or cheap giveaways, claiming it devalues writing, and creates an audience that expects to get books for free. Most writers would prefer to sell their books through local bookstores, but feel that is often difficult to do.

The single biggest complaint indie writers have about bookstore policies is that the increasingly popular bookstore model – where a writer brings their books to a reading, gives the bookstore 40% of all sales, then removes all unsold copies when they leave – benefits primarily the bookstore. “I wouldn’t mind,” said a writer whose work has been published by one of the larger indie presses, “If they kept even one or two copies on the shelf.”  Without the bookstores retaining even one copy, writers feel there is no reason to support the bookstore. It has ceased to become a partner. “Why should I sell at a bookstore if they’re not even keeping my book?” Why not read at a bar, art gallery, or coffee house and keep all the proceeds, rather than turn over 40% of sales?

Bookstores believe writers don’t understand that it costs to sponsor a reading – someone has to write the press releases, add the announcement to the web, set up the chairs, etc. They also feel writers over-estimate the market, and can’t keep books on the shelves that won’t sell. “We don’t have a magic core customer base,” says Campbell. “In the best of times poetry never sells well. Neither do most story collections by single authors.”

Now with so many books, particularly in poetry, flooding the market, sales, rather than increasing, are on the decline. Everyone wants to publish, but no one wants to buy. With the expansion of readings and open mics, the audiences for bookstore readings are diminishing. It’s up to the writer to help bring people into the store, bookstores feel. But just bringing in an audience isn’t enough.

Everyone agrees that there is a drastic increase in the number of writers who want to see their work in print. Ten years ago only 32,000 books were self-published. A year ago, over 1 million. And it’s not difficult to find a publisher willing to print up a writer’s book if the writer pre-sells 50-100 copies prior to printing. Bookstore owners feel this is a major part of the problem. They say publishers who require authors to pre-sell so many copies of their books before the books are even printed make their authors unattractive for store readings. If a writer pre-sells to their family and friends, who is left to buy the book at the bookstore? Every bookstore owner has a story about readings where they sold no books because everyone in the audience had already purchased copies. There is suspicion among booksellers about this publishing practice.

“There are ‘printers’ out there who are not publishers, and a lot of authors are duped into getting ‘published’ by these outfits. It’s okay to go this route, but the authors need to understand they will be taking a loss if they want to play wholesaler and resell their books to bookstores,” said Fiocco.

For publishers who require this it’s a Catch-22. Pre-sales are necessary to cover their costs. One of the reasons they cite is the difficulty of getting bookstores to carry, and make an effort to sell, their work. By pre-selling they can be sure not to lose money on a book, and in turn be able to publish more work by more writers. All of whom want to do readings.

The increased availability of reading venues may be a problem, too, since the sales are split over multiple venues, rather than being concentrated in the bookstores. In the Triangle area of North Carolina alone, there are probably 15-20 opportunities a month to hear a writer read – at bookstores, coffee houses, open mics, bars, art galleries. Almost all of the writers reading at these venues publish with independent presses, self-publish, or haven’t published a book yet. Difficulties occur for bookstores when writers read at alternative spots, selling books at restaurants and coffee houses, and also want to read at bookstores. “If someone is doing a reading at a coffee house, I won’t host them here,” Campbell said. Writers and presses point out, since the bookstores don’t carry their books, they have no choice but to find other places to read, and sell, their books.

While the open mic phenomenon has democratized the writing scene, especially for poetry, it hasn’t improved the situation for bookstores that need to sell books to survive. Increasingly, in order to draw crowds at bookstore readings, those readings have to have an open mic component. And increasingly, that audience does not purchase books.

To address this problem, many indie bookstores are starting to charge fees for reading events. Jill Hendrix from Fiction Addiction in South Carolina feels it’s necessary to charge a $75 fee to indie publishers or writers if they wish to hold an in-store event. That covers the upfront costs of newsletter, web posting, etc. These events usually draw an audience of 10-15, so, factoring the bookstore cut of sales, the authors don’t really make money, but they consider it good exposure.  And the store keeps those books on its shelf for 6 months.

“This is a business,” Hendrix said. Some people pay the fee, others aren’t interested.

But it doesn’t help that business to have book-buying writers feeling frustrated.

So what can be done about this? Here are my modest proposals. I offer these as a starting point, to encourage dialogue about this issue.

For Bookstores

1) Instead of separating out local or regional authors, mix them on the shelves with those from major publishing houses, so that people who browse the well-known names have the opportunity to come across local writers. 2) If someone lives in your state, keep at least 1 copy of their book on your shelves. 3) If you are going to charge a fee for a reading event, allow the writer to keep the proceeds from the first 6 books sold, so they get something back for their investment. 4) Make sure when you highlight books to include many indie published books too – remember, 2 years ago it was an indie press that published the Pulitzer Prize winning novel. There are many fine indie books that can be suggested as holiday gift books, or excellent reading choices. Don’t just be led to read what the major publishers suggest are their best books. Highlight local and Indie authors, too. 5) Be aware of the serious distribution problems facing indie presses, and try to work with them on that. One solution proposed by more than one bookstore owner is for several small presses to band together to produce events and distribute books., a writer-based co-operative distribution service, is attempting to do just that. It offer bookstores the opportunity to order from 10 presses, 20 authors in one simple online form, and will arrange a readings for bookstores. Order from it. 6) Remember, if you are claiming it is better to purchase from an indie bookstore, you have to be about more than just business. 7) Ask indie presses and writers who wish to have a reading to take on the burden of preparing press releases, newspaper listings, social media listings, etc. – all that upfront work you have to do. Make that part of your agreement for hosting a reading.

For Indie Presses and Writers

1) Band together to create joint-distribution groups. 2)Write up press releases, handle social media marketing, for proposed readings. 3) If indie bookstores do carry a title you published, don’t undercut them by offering that particular book on ebook discount in their market area. 4) Don’t pre-sell your book. Or if you must, ask your friends and family to reserve a copy at an indie bookstore. Or better yet, you, the writer, can collect these reservations and turn them over to the bookstore, encouraging them to order a couple extra copies for their shelves. Then negotiate with your publisher to accept these reservations as part of your pre-sell package. The publisher will actually make more money from that. 5) Don’t do free giveaways or 99 cent sales on Amazon. Unless you’re writing genre fiction, they don’t work. It is never a good model to give away 4,000 free books to sell 10.  People will only be expecting your next book to be free. 6) Don’t book so many readings in the same area that it becomes oversaturated. Honor the indie bookstore sales area if you wish to read at that store. 7) Hone your pitch to bookstores. Publishers can offer a one or two line explanation of why each of their books will appeal to readers, who the audience might be for each publication, so bookstores have a starting point for selling. 8) Give up Starbucks for 1 week every 4 months and use that money to buy books at readings instead of coffee. You can’t sit in a restaurant for 2 hours without buying something. Treat bookstores the same way. That would go a long way towards alleviating the concerns of presses, writers and bookstores.

One last piece of advice to indie bookstores – rethink Kobo. Ebooks are not going to increase your sales of print books. And like it or not, most users, and techies, consider Kobo an inferior product to Kindle. Rather than remind people there are cheaper ways to get books, ways that exclude bookstores, focus on what Indie bookstores always offered in the past, when they were more than just a business – a wide range of literature, enthusiastic and knowledgeable staff, a mission to support writers and the wider community. The old cliché, charity starts at home, can be recast to “Indies support Indies.”


Richard Krawiec is Publisher of Jacar Press. His poetry collection, She Hands me the Razor(Press 53) was a SIBA nominee in 2012.

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An awesome membership offer from the ABA

Dear Bookseller,

As a member of SIBA, we would like to extend to you a special offer to join ABA for $50 for your first year. Founded in 1900, the ABA is a not-for-profit trade organization devoted to meeting the needs of its members through education, business products and services, marketing and advocacy.

Now more than ever, whether a new or used bookstore, it is important for indie bookstores to be part of a larger network.  And while the economy is still difficult, and the industry ever-changing, we are confident that indies have a profitable future ahead.

ABA membership includes:

  • Education and networking, where you can expand your knowledge of the industry through web-based curriculum guides as well as programs like the annual Winter Institute;
  • The Book Buyers Handbook, a fully-searchable database directory of up-to-date information on publisher’s contact information, current promotions and special offers;
  • IndieBound D.I.Y, with over 100 design files that can be used for in-store and online marketing, all inspired by local first and independent business advocacy;
  • Online Bookseller forums, where you can communicate with other indies all over the country and post questions and comments;

For a full list of ABA membership benefits, please visit this page.

According to SIBA executive director Wanda Jewell, this is an offer that no bookseller should pass up: “The American Booksellers Association offers SIBA members so many programs & opportunities from the robust IndieCommerce website solution and ebook partnership with Kobo to the invaluable ABACUS Survey and a bounty of marketing resources not to mention the extensive advocacy that the ABA offers to the industry as a whole. This is the best deal around. Join today for only $50 and check it out.”

This offer expires on May 15, 2013, so join today using the promo code regional13.

Please feel free to contact me with any questions.


Nathan Halter
Member Relationship Manager
American Booksellers Association

We’ve moved. Please note our new address, phone and fax:

333 Westchester Avenue, Suite S202
White Plains, NY 10604
direct:  914.406.7514
fax: 914.417.4013

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What Booksellers are Saying about SIBA…

In response to an anonymous survey, core members finished the sentence prompt below.

I am a member of SIBA because…

I feel it’s important to support all activities highlighting independent businesses. There are useful communications that help me run my business.

Resources, encouragement, great responsiveness from Wanda to our questions, cutting edge info that is invaluable.

It’s important to support an organization that binds indies together.

I love the resources, the members, the helpful familial atmosphere- and of course, the authors and the books.

I enjoy the trade show and use the holiday catalog each year.

SIBA is a forum of knowledge contact with publishers and authors. We look for SIBA to be the eyes and ears of independent booksellers in a rapidly changing industry. Only as a group will we have a voice.

Community is important.

It is important to continue to support the local organization related to the profession; and to meet and learn from others in the profession

My bookstore has been open for 16 years and I have been a SIBA member for 8. The membership is the single most valuable expenditure (other than merchandise) that I make each year.

As booksellers in the Southeast, we should be.

I bought the store with the membership and decided to keep it.

The invaluable information we receive about authors, new titles, popular titles, the publishing industry, the trade show, networking and feedback from other southern booksellers. Our store would not be viable without all the info and services SIBA provides.

Bookseller Support Professional Association

So far it has been a good resource of ideas and references but I have not been a member too long so it is hard to comment.

of the holiday catalog, the free website, the e-mail community.

of the wealth of information I gain by reading emails, blogs and networking with other members at trade show.

SIBA is wonderful resource for the southern indie bookstores!!

I am a believer that we can help each other remain strong and INDEPENDENT

It is a great support system for my store.

Southern books are our core business

SIBA is invaluable for an independent shop, even when all of its programs are not taken advantage of.

It is a great network

I think it is important to be part of an organization related to my business.

I just opened a used bookstore and can use all the help I can get. I find valuable information on the website.

together we are stronger

tremendous amount of info – you all do a lot of the leg work for booksellers as a whole

of the irreplaceable contacts with publisher reps, authors, and fellow booksellers with whom I mingle at the trade show.

Happy Holidays! Here’s $150 from SIBA!

The Circle of Sites Banners-for-Dues program returns with more options (only available to indie bookstores that meet SIBA’s criteria as a Core Member)

2010 is winding down and the holiday season is upon us, that means it’s time to renew your membership dues for next year. Once again, SIBA is offering bookstores free membership if they will participate in the Circle of Sites program and run a banner on their store website for SIBA.

In otherwords, SIBA wants to give you $150.00.

Download our Welcome Kit to see other member benefits
Join online (choose “bill me” and put “Circle of Sites” in the comments)
Download a SIBA Dues Form (check the Circle of Sites option on the left)

If you allow SIBA to run a banner on your website, we will waive your membership dues for 2011. Banners change weekly, with no other work or requirement from you.

The deadline to participate is April 1st

Click here to see last year’s list of books promoted on Circle of Sites

What’s new for Circle of Sites in 2011?

  1. We now offer the option of a horizontal or vertical banner. We heard from many stores that the horizontal banners didn’t always fit into their website design gracefully. For those of you with narrow two- or three-column sites, we now have a vertical option we can provide.
  2. In order to be eligible for free membership dues, the banner must appear “above the fold” –that is, visible to viewers without scrolling when they first visit store site.

Stores interested in participating in the 2011 Circle of Sites program should contact Nicki at with any questions.

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The Unchained Tour of Georgia

The Unchained Tour of Georgia

‘Unchained Tour’ to Barnstorm Georgia for Indie Bookstores

Savannah, Ga. (Sept., 2010) Five Moth raconteurs, a couple of musicians and a juggler are preparing to board an old Blue Bird school bus for a barnstorming “Unchained Tour” of 13 Georgia towns in support of independent bookstores. The tour is set to begin Oct. 11 in St. Simons Island, Ga.

The Unchained Tour is the brainchild of novelist George Dawes Green. In 1997, Mr. Green founded the Moth, a series of storytelling nights in New York City. The Moth has featured such celebrated raconteurs as Salman Rushdie, Garrison Keillor, Malcolm Gladwell and Sam Shepherd. There are now regular Moths in Los Angeles, Detroit, Chicago, Atlanta and Boston, with plans to expand to four new cities this year, including Berlin, Germany, and Savannah. The new “Moth on the Radio” program on NPR reaches more than 200 radio stations, and is one of the most successful new programs in thirty years.

“We’re embarking on our tour,” Green commented, “to spread the message that indie bookstores should be the vital center of communities. Nights of storytelling and music, of book groups and talent shows, are at the heart of any living town. It’s time to break the chains of the Internet, and of addictive shallow surfing, and get back to books and deep reading and sharing evenings with living breathing people.”

The 1975 Blue Bird school bus is now in Savannah, being painted and refurbished by more than 30 artists, carpenters and mechanics. Following the opening tour date in St. Simons Island, the tour travels to the Georgia communities of Statesboro, Thomasville, Newnan, Macon, Zebulon, Gainesville, Athens, Washington, Savannah, Augusta, Canton and ending the tour with two nights of shows, October 28th and 29th, in Atlanta. The tour schedule is available online at‐calendar/.

For more information about the not‐for‐profit Unchained Tour or to purchase tickets or merchandise or make a donation, visit or e‐mail

About Us:
George Dawes Green, Founder
Founder of the Moth and acclaimed author of The Caveman’s Valentine, The Juror, and Ravens.  He is currently working on his fourth novel.

Lisa Parker Fort, Co‐Founder and Creative Director, an Organizational Consultant who has worked as the Volunteer Coordinator and Event Director for The Savannah Book Festival, Location Consultant for Kingsgate Films, Program Development for the Family Enrichment Program and Speaker Coordinator and Program Chairman for the Episcopal Church Women of Saint John’s Church.

Francis Allen, Executive Director and Daddy Rabbit, Former President and CEO of Syntheny, Ltd. Currently active in community gardening, serving on Board of Directors of Savannah Urban Garden Alliance and Co‐Founder/Garden Manager of Starfish Community Garden. If you can read and don’t, do not for a minute consider yourself
superior to someone who wants to read and can’t. – Francis Allen

Chad Faries, Vice‐President:  Chad Faries was raised mostly in the Upper Peninsula of Michigan, but lived in 24 houses by the time he was 10 years old. These experiences are chronicled in his forthcoming memoir, And Then We Moved (Emergency Press February, 2011) . His poetry collection, The Border Will Be Soon, was the winner of the Emergency Press open book competition in 2005. The Book of Knowledge, a poetry collection whose design and contents were inspired by a 1911 children’s encyclopedia, was just published by Vulgar Marsala Press. He has published poems, essays, photographs, interviews, and creative non‐fiction in Exquisite Corpse, Southeast Review, New American Writing, Barrow Street, The Hawaii Review, Afterimage, Post Road, and others. He has a PhD in Creative Writing from the University of Wisconsin‐Milwaukee and was a Fulbright Fellow in Budapest. He has lived extensively and taught in Central Europe. Currently he is an Asst. Professor at Savannah State University where he also hosts a theme based storytelling and music program on WHCJ 90.3 . He now owns a house in Thunderbolt, GA but lives abroad and
gets lost on his motorcycle whenever he can. More info can be found at

Ariel Janzen, Secretary:  Ariel holds a masters degree from the Savannah College of Art & Design and has over 12 years
of web, print and identity design experience, having worked as an art director in Toronto before relocating to Savannah in 2001. In 2004 she founded the graphic design firm brightwhitespace, which has re‐branded dozens of organizations including the City of Savannah, designed and helped publish dozens of books, and launched countless websites. She also holds a bachelor’s degree in literature, loves typography and kerns letters in her spare time.

Samita Wolfe, Producer:  Samita Wolfe is currently a senior in the environmental science program with Savannah State
University. She spent five years in the military where she learned how to “take care of business.” She drives a pick‐up truck, raises chickens and co‐owns an online vintage store. She spends her spare time studying organic chemistry and listening to NPR, now that’s taking care of business!
Tina McElroy Ansa, Storyteller
Tina McElroy Ansa is a novelist, publisher, filmmaker, teacher and journalist. But above all, she is a storyteller. She calls herself, “part of a long and honored writing tradition, one of those little Southern girls who always knew she wanted to be a writer.” She grew up in Middle Georgia in the 1950s hearing her grandfather’s stories on the porch of her family home and strangers’ stories downtown in her father’s juke joint, which have inspired Mulberry, Georgia, the
mythical world of her five novels, “Baby of the Family” (Mariner, 1991), “Ugly Ways” (Mariner, 1995), “The Hand I Fan With” (Anchor, 1997), “You Know Better” (Harper, 2003), and “Taking After Mudear” (DownSouth Press, 2008).

Cary Ann Hearst & Michael Trent, Musicians
Cary Ann Hearst has a snappy turn of phrase, a simple sense of melody and primeval sense of guitar rhythm that is a direct result of her Nashville upbringing and she shouldn’t be missed.  Her song, Hells Bells, ended Episode 6 of this season’s True Blood series on HBO. Michael Trent has a knack for amazing melodies. Check out his new album The Winner. The duo has recorded an album, Shovel & Rope, that is getting much praise. They play a unique blend of country and back‐woodsy blues. The duo’s artistic chemistry is startling and the soulful duo shouldn’t be missed.

Dan Kennedy, Storyteller
Dan Kennedy is a writer and comedy/story telling performer living in New York City and the author of the national best seller “Rock On” (Algonquin, 2008), which the London Times named a Book of The Year, and the widely‐acclaimed debut “Loser Goes First” (Crown, 2004). He’s a longstanding contributor at McSweeney’s dot net, and a regular host of The Moth’s StorySLAM events in New York as well as The Moth podcast.

Edgar Oliver, Storyteller
Edgar Oliver is an American stage and film actor, poet, performance artist and playwright. Born in Savannah, Georgia, he has lived and worked in New York City since 1977. He is considered “a legend” of the downtown New York theatre scene. He started performing in New York at the Pyramid in the mid‐1980′s alongside artists including Hapi Phace, Kembra Pfahler, Samoa and playwright Kestutis Nakas. His published works include A Portrait of New York by a Wanderer There and summer and The Man Who Loved Plants.

Juliet Hope Wayne, Storyteller
Juliet Hope Wayne was named “Best Storyteller in Philadelphia” and was the first female to win the Grandslam at The Moth in New York City. She received her BA in Animation with a minor in Textile Design and has since worked for The Fabric Workshop Museum and The Cartoon Network. She’s currently working on a “Little Golden Book”‐type project for grown‐ups which will feature her stories illustrated and accompanied by a DVD of animated and live versions.

Katy Rose Cox, Fiddler
Originally from Austin, Texas, Katy Rose Cox has been referred to as virtuosic. She is accomplished in classical, pop, and bluegrass styles, and has performed in venues all over the US, from punk clubs like CBGB’S to classical performance spaces like Carnegie Hall.

Wanda Bullard, Storyteller
Wanda Bullard grew up in Boonville Mississippi, but has been living on St. Simon’s Island, Georgia for the past 15 years. A teacher for 40 years, she currently works with emotionally disturbed and behaviorally disordered 6th, 7th, and 8th grade students in Brunswick, Georgia.  The initial inspiration for The Moth came from nights of storytelling on Wanda’s porch.

Tour Destinations – Venue – Date – Time of Event
Week One:
Brunswick/St. Simons Island – Palm Coast Coffee – 10/11/2010 – 7:30pm
Statesboro – The Emma Kelly Theatre – Averitt Center for the Arts – 10/12/2010 – 7:30pm
Thomasville – The Bookshelf & Gallery – 10/13/2010 – 7:30pm
Newnan – Newnan Carnegie Library – 10/14/2010 – 7:30pm
Macon – Cox Capital Theatre – 10/15/2010 – 8:00pm
Zebulon – A Novel Experience – 10/16/2010 – 8:00pm
Week Two:
Gainesville – Outdoor Amphitheatre, NE Georgia History Center – 10/19/2010 – 7:30pm
Athens – Seney-Stovall Chapel – 10/20/2010 – 7:30pm
Washington – Retro Cinema & Books – 10/21/2010 – 7:30pm
Savannah – Venue TBA – 10/22/2010 – 8:00pm
Savannah – SCAD River House – 10/23/2010 – 8:00pm
Week Three:
Augusta – Le Chat Noir – 10/26/2010 – 7:30pm
Canton – Historic Canton Theatre – 10/27/2010 – 7:30pm
Atlanta – Manuel’s Tavern – 10/28/2010 – 8:00pm
The Unchained Tour of Georgia Page 8
Atlanta – Manuel’s Tavern – 10/29/2010 – 8:00pm
In the Media:
The Tale of a Yarn Spinner
By Melik Kaylan, The Wall Street Journal

George Dawes Green talks about The Moth, where storytellers take flight
By Ben Machell

The Moth Mainstage … That’s the truth, really
By Marylynne Pitz, Pittsburgh Post-Gazette

Unchained Tour of Georgia (ft. storytellers) coming
The Unchained Tour of Georgia Page 9
By Janet Geddis, Beyond the Trestle‐tour‐georgia‐ftstorytellers‐

The George Dawes Green Interview: A Storyteller’s Storyteller…
By James Calemine,

Contact Information:
The Unchained Tour
208 East 44th Street
Savannah, Georgia 31405
facebook: The Unchained Tour
For Additional Media Kit Information:
Francis Allen
Cell: 704.533.2517

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Bookseller as Therapist = Brilliant

I picked up a great magazine at my local grocery store yesterday and am so enamored of it.  It is called ReadyMade and they appear to be doing a great job of connecting the content from print to online.  So much of what I saw and read was enlightening as to how to combine the new options with the old but I was most drawn to the Required Reading article right up front on page 10.  This is a brilliant idea, that with free online tools, can be easily replicated, packaged, and sold by indie bookstores in the south.

Basically, the idea is this:  Bookseller as bibliotherapist — all of us are looking out for ways to improve our lives, whether spiritually, emotionally, or physically and we readers intersect with stories and books that inspire or entertain or educate us.  So booksellers write book prescriptions – the right read for what ails you.

Read the entire article here:

Photography by Levi Brown

Written by Melissa Goldstein Photography by Levi Brown

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A Filly Ate? Affiliate? Affiliation?

Get in Bed # 4 af·fil·i·ate/v. əˈfɪliˌeɪt; n. əˈfɪliɪt, -ˌeɪt/

Affiliate Programs Can Help Raise Readers

A filly ate? Whaa?!

–verb (used with object)

1. to bring into close association or connection: The Book Lady’s Blog is affiliated with the Fountain Bookstore.

2. to attach or unite on terms of fellowship; associate (usually fol. by with  in U.S. usage, by to  in Brit. usage): to affiliate with an indie bookstore.

3. to trace the descent, derivation, or origin of: to affiliate a book.

4. to adopt. As in Get in Bed with…

5. Law . to fix the paternity of, as an illegitimate child: The mother affiliated her child upon John Doe.  As in get in bed with…

–verb (used without object)

6. to associate oneself; be intimately united in action or interest.  As in both book bloggers and booksellers have an affiliation for books and the right to read.


7. a branch organization.  As in SIBA is an affiliate to bloggers and booksellers via its Get in Bed Blog Project.

8. Commerce .   Book Bloggers can affiliate with Indie Bookstores and share in the profits of books sold via their blog.  Indie Bookstores can affiliate with any commerce concern that seeks to sell books online by sharing in the profits of books sold via the commerce concern.  As to commerce, affiliate and reseller and often interchanged.

a. a business concern owned or controlled in whole or in part by another concern.   As in the Southern Independent Booksellers Alliance is affiliated with its bookseller members.

b. a subsidiary.  The Get in Bed Blog Project is an affiliate of Get in Bed with a Book Blogger.

9. a person who is affiliated; associate; auxiliary.   SIBA’s core bookstore members are affiliated with SIBA.

Use affiliate in a Sentence: “I look forward to the day where all of SIBA’s Indie Bookstores are selling books and ebooks online via their own websites and via affiliates of the communities they already support like book bloggers, authors, local schools, churches, libraries, other retailers, and more than I can imagine.”


For Bloggers:
1. Check out some affiliate options by clicking on affiliate & affiliation throughout the above dictionary entry.  Consider applying to be an affiliate of an indie bookstore.
For Booksellers:
1. See if your online shopping cart option offers an affiliate program.

That’s it.  Stop.  More next week unless you’d like to do this *****BONUS ACTIVITY*****

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