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Posts Tagged independent authors
Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.
Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.
For and against
Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.
Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)
But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’
Now that’s a very interesting view. We’ll return to that in a moment.
But look, no ISBNs at all
Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.
Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.
Author or publisher? Or something else?
I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.
Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.
Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.
What kind of self-publisher are you?
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When you’re getting your books into stores, there are certain practicalities to consider. Will the delivery costs eat your profit? Are you on the database they order from? How long will they keep your books for?
I’m still new to this, but there are a few guidelines I’ve established that might help if you’re approaching bookshops to sell your work. And if there’s any advice you’d add, do please jump in! Every shop is different and I’m sure my experience is merely the tiniest visible part of a very large berg. Here are my tips at the Alliance of Independent Authors…
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If you follow me on Twitter, Facebook or in Google’s Confusing Circles, you might have seen me celebrating when a bookshop reviewed My Memories of a Future Life - on Amazon. ‘I was so impressed’ (it read) ‘that I persuaded Roz to hold a signing…’
That’s a bit astonishing in the current climate, and the Alliance of Independent Authors were soon wanting the story of what I’d done to get into their good books.
Much of it was luck, I have to say – I clicked with their tastes. And I’ve had a hit and miss relationship with other bookstores. But if you’re contemplating approaching bookshops with your print editions, you might find my experience useful…
And tell me here: have you approached bookshops or other retail outlets with your work? How did it go?
authors, Barton's Bookshop, books, bookshops, facebook, Fix and Finish With Confidence, future life, getting into bookshops, getting into bookstores, good books, how I sold my indie book, how to get your self-published book into shops, how to sell to bookstores, how to sell your self-published book, how to write a book, how to write a novel, independent authors, indie bookstores, indie publishers, indie publishing, Leatherhead, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishing, Roz Morris, self-publishing, Surrey
I’m at Authors Electric today, discussing how indie writers are getting their work to readers by curating collections based on a solid respect for craft and originality. While publishers play safe with marketing pigeonholes, some of these indie groups will be the brands of the future. Come and see…
authors, Authors Electric, Do Authors Dream of Electric Books?, entertainment, Fix and Finish With Confidence, how to write a novel, imprints, independent authors, independent publishers, independent publishing, indie authors, indie groups, indie writers, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishing brands, Roz Morris, self-publishing, writing, writing a novel - Nail Your Novel, writing business
I had an email the other day from a writer who wanted to hire me to critique his novel, and said he’d already had it proof-read and copy edited at considerable expense. He wasn’t pleased when I pointed out that his money had probably been wasted.
Most professional critiques will raise enough points for a major rewrite, so you need to be prepared for that. Paying to get your manuscript copy-edited and proofed before this is not terribly sensible.
But if you’ve never been through the publishing process before, how do you know when to hire what help?
Here’s a critical path.
1. Write, revise etc. Send to beta-readers. Do you need to have the manuscript proof-read for them? No. Just try to make it as clear of errors as you can. There may be a lot of changes to come. When they give you feedback, revise as necessary.
2. When the book is the best you can make it, hire a professional editor.
3. When you get the report back, allow plenty of time for an in-depth rewrite. You may not need this, of course, but too many first-time writers tell me they’ve allowed just two weeks to whack through points raised in my notes. But what if I said a couple of characters needed to be spliced together, a sub-plot needed to be strengthened, your novel’s middle had a sludgy bit where nothing happened, the relationship between a pair of characters needed more complexity, your dialogue needed more spice? Any one of those points would probably take you more than a few weeks to sort but these are typical problem areas. Even seasoned novelists might find a critique throws up a fundamental problem – and so they know to allow plenty of time for this phase.
Why couldn’t these problems be spotted by beta readers? Obviously it depends who your beta readers are, but they tend not to have the book doctor’s eye. They’ll react like laypeople and fans of the genre. They’re extremely good for highlighting places they’re confused, losing interest, don’t believe what’s happening and characters they like and don’t like. But not for the real diagnosis and surgery.
4 Once you’ve rewritten – and preferably run the new version past some more readers, you’re ready for copy-editing.
What’s copy-editing? It’s checking the niggly details. Does Fenella always have blue eyes? Have you got a consistent style for spellings and hyphenation? Are the facts straight, as far as facts are relevant? Does the timeline work? Do any characters accidentally disappear? Are passages repeated from the inevitable cutting and pasting that went on in all the editing phases? As you can see, there will be a lot more changes from this stage. So sort all these questions out and only then…
5 …. proof-read or hire someone to do this. Proof-reading is for the final text, when you are ready to publish.
Another big mistake authors make is to get their cover designed too early. Yes, it’s so exciting to have a cover; believe me, I know. It means you’re Really Going To Publish It. But your cover must reflect the emotional promise of the book.
With some genres that will be easy because the story elements won’t change, but if your thematic emphasis might, you might not be fit to discuss covers until you’ve done your post-critique rewrite.
Don’t get your cover designed until you’ve made a final decision about the title. The title is part of the visual design, and a designer will position pictures, textures and so on so that they fit with the shape and size of the words. The images might have been chosen to go with the words too. If you change the title, chaos beckons (and probably more expense).
Once you’ve made the decision to self-publish and do it properly, it’s easy to panic about things being rough. But don’t rush to complete too quickly. Use my schedule to make sure you’re not putting the cart before the horse.
Do you have any advice to add? What mistakes do you see writers making when they hire professional help? Have you had to learn the hard way yourself?
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. You also might like my multimedia course with Joanna Penn – more than 4 hours of audio and slides with an 86-page transcription – find it here.
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As @NailYourNovel I post 4 to 5 useful writing links per dayMy Tweets
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- ‘The thoughts start flowing again’ – The Undercover Soundtrack, Will Overby December 11, 2013
- From ‘To do’ to ‘Done’ – confessions of an organised author December 8, 2013
- ‘Music to make a creative space’ – The Undercover Soundtrack, Kirsty Greenwood December 4, 2013
- How to write down story ideas so you can remember why they were brilliant December 1, 2013
- Could The Undercover Soundtrack help you reach readers? Post at the Alliance of Independent Authors November 30, 2013
- ‘Sex, drugs, metaphysics and rock’n’roll’ – The Undercover Soundtrack, David Biddle November 27, 2013
- How do I develop something special in my writing? November 24, 2013
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