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Posts Tagged Kindle
I’d love a traditional publishing deal. I’ve submitted my manuscript to two agents, and while waiting to hear from them I have been offered three ebook contracts – but I’m not sure which way to go. Also, could you quote me a price for professional editing?
I answered the email at length in private, but some interesting issues emerged that I feel might make a useful post.
Wow, three offers!
Three ebook contracts already. Way to go! Some publishers are offering ebook-only deals to authors, and considering print if sales are good. But in the nicest possible way, I was worried about my friend here – because in this market, it seemed unlikely to get that many serious offers and not have secured an agent.
My correspondent sent me the details of the publishers and I checked their sites. I’m not going to reveal their names here as I haven’t contacted them or asked for statements, as you should do in a proper investigative piece. Also, they weren’t attempting to scam or con anyone. They certainly could publish her book. But she didn’t realise they weren’t publishers of the kind she was hoping to get offers from.
One site had several pages about selling tuition and support to authors. There was a mission statement page that included a point about ‘fees’. The others stated they offered services to authors. Publishers – of the kind that my friend here was seeking – don’t use those terms. These people are pitching for business, not offering a publishing contract.
If I were her, I’d wait to hear what the agents say!
But if you do want to use self-publishing services, here are a few pointers.
Some publishing services providers can try to tie up your rights so that you can’t publish the book elsewhere. Others will make you pay for formatting and then not release the files for you to use yourself unless you pay a further fee. (I know regular readers of this blog who’ve been caught in these situations.) Some charge way over the market rate as well.
To get acquainted with the kinds of scams and horrors that are perpetrated on unsuspecting authors, make a regular appointment with Victoria Strauss’s blog Writer Beware.
Check the quality
Assuming no nasty clauses, you also need to know if the services are good enough. I’ve seen some pretty dreadful print books from self-publishing services companies. Before committing, buy one of their titles and check it out, or send it to a publishing-savvy friend who can help you make a sensible judgement.
Your best defence? The Alliance of Independent Authors Choosing a Self-Publishing Service will tell you the ins and outs.
Readers and communities
Obviously traditional imprints score here because they have kudos and reputation.
And the publishing services companies on my friend’s list were attempting to address this. They emphasised that they were attached to reader communities, or wrote persuasively about how they were in the process of building them.
This sounds good, and let’s assume they are genuinely putting resources in. But communities take years to establish, plus a number of these publishers seemed to be relying on their writers to spread the word. We all learn pretty quickly that we need to reach readers, not other bunches of writers. And if a community is in its infancy, you might be better buying advert spots on email lists such as Bookbub or The Fussy Librarian, depending on your genre.
Some of these companies may give you no advantage over doing it yourself. You might be in exactly the same position as if you put your book on Createspace and KDP and write a description that will take best advantage of Amazon search algorithms.
As a novice author, you might not realise how unmysterious these basics are. So don’t make any decisions without reading this post of mine – before you spend money on self-publishing services…. And try this from author collective Triskele Books: The Triskele Trail.
Wait for the agent… part 2
Basically, if you get a proper publishing offer, you don’t pay for any of the book preparation – that includes editing, formatting, cover etc. Which leads me to my correspondent’s final question about editing. This is one of the things a publisher should do! You only need the likes of me if a) an agent says you need to work with an editor to hone your manuscript or craft or b) if you intend to self-publish!
Do you have any advice to add about assessing offers from publishers or publishing service providers? Or cautionary tales? Please don’t name any names or give identifiable details as it may get legally tricky …
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As indies get ever more professional, an entire service industry is springing up to offer us services for every occasion. At this year’s London Book Fair, the Authors’ Lounge was heaving with suppliers, and no shortage of willing customers. While it’s great to have access to these, authors are ripe for rip-off.
This week David Gaughran highlighted unscrupulous companies that charge exorbitant prices, or hoodwink authors into paying for services that could be obtained for very little or no cost.
So this post is a self-publishing 101; a catch-up for those who are wondering what they need to spend money on. In some cases, knowledge is the answer; all books, authors and genres are different, and one supplier does not fit all.
It’s virtually impossible to publish a book without any expenditure, but we can make sure we use our budgets wisely – and stop writers filling the pockets of unscrupulous suppliers who are getting rich on our dreams.
Some authors don’t know they can create their own user accounts on Smashwords, Kindle Direct Publishing, Kobo and CreateSpace. Or how simple it is – basically, no more difficult than entering your details in a mail-order website.
Some companies offer to upload your books through their account, but this is unnecessary. Even if you don’t make the files yourself, you can still upload them. If your service company went out of business, what would happen to your book listings? Moreover, if a third party controls your access to these publishing platforms, it’s harder to adjust your book’s appearance and description – which as you’ll see is essential to successful self-publishing.
This week, as you may have gathered, I published the follow-up to Nail Your Novel. I was rusty with the e-platforms, but it didn’t take long to get reacquainted.
Basic ebook formatting is dead simple if you can use Word on an everyday average level. You don’t need to be a wizard, but you do have to be meticulous. The best instructions are at the Smashwords Style Guide, a free book with diagrams and reassuringly clear instructions. There are a couple of other useful links in this post I wrote 2 years ago when I first ventured onto Kindle. I reread them when I uploaded my new book last week and it all went smoothly.
Indeed, if you have Scrivener, it will format ebooks for you.
Print book interiors
Print books are more tricky than ebooks, and amateur ones can look dreadful. But there are various tools to help beginners do a good job for very little money.
I recommend you read Catherine Ryan Howard’s book Self-Printed, which I used the first time I ventured onto CreateSpace and I still keep to hand to remind myself how to set up a book. She also has a ton of other useful guidance on book formatting.
How do you make the interior? CreateSpace provides Word templates, if you need help (although I make my books in a design program and upload a PDF). CS templates are pretty plain, and Word isn’t ideal for interior formatting, but it’s fine for novels, which require hardly any design. In any case, a neat finish isn’t created by fancy typesetting, it’s from consistency and readability – and you can find a post I wrote on that here.
If you want a slicker look for little money, try Joel Friedlander’s book design templates for use in Word. Joel has created interiors that you graft your text into – which is exactly what happens when books are designed in mainstream publishers (although they don’t use Word).
Which print-on-demand company should you use? There are two main options: Lightning Source and CreateSpace. LS isn’t suitable for beginners. It costs to start a book project and proofs are expensive. CS, though, is free to set up and holds your hand. Here’s a post I wrote comparing the two for novice publishers.
A great cover is money well spent. But you need to take creative control because you could end up with something unsuitable, horrible, or even illegal if the designer downloaded images from Google instead of sourcing them legitimately. This happens.
When you hire a cover designer, you need to know how to choose them and how to know when the job has been done properly. Identify your genre, familiarise yourself with its most successful covers, then you’ll know how to judge which designer is right for your book. Here’s a post I wrote recently on getting a cover designed.
At LBF I talked to a publicity company to find out how they’d publicise a literary novel. They hadn’t tackled literary fiction before, and seemed unwilling to admit it until I pressed them hard. If I’d been a newbie, they’d have been selling me expensive packages that were unsuitable for my book. (I wasn’t looking to buy anyway; I was asking out of curiosity.)
With marketing, learn as much as you can before you hire publicists or buy advertising. I’ve learned a lot from Joanna Penn’s blog, and this is where I’d send you too.
Not all marketing has to cost money. Book descriptions, price point, tagging, titling and categorisation will all affect whether your book can be found by its ideal readers and you can experiment and tweak ad infinitum. (Remember I said you don’t want to have to ask a third party whenever you adjust your book’s back end? This is a good reason why.) You might find you know more about marketing than you realise, as I did when I was asked to write this guest post.
- Choosing a Self-Publishing Service by the Alliance of Independent Authors
- and Let’s Get Digital by David Gaughran
psst… Editorial services
First, of course, you need a book that’s fit to be published. In a publisher, there would be a team of people handling different editing stages:
- developmental (the big picture: book structure, characters, narrative voice, plot etc)
- copyediting (niggly details like plot consistency, names, timelines)
- proofing (looking for typos and other mistakes)
It’s worth hiring expertise to help you with these and it’s unlikely that you can do it cheap. But you can choose wisely: here’s my post on issues to be aware of.
What other warnings and tips would you add to my self-publishing 101?
Alive and sparking now on all ebook formats
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Book marketing, self-publishing – and should you seek a publisher? All the fun of the London Book Fair 2013
Last week I was one of Kobo’s writers in residence at the London Book Fair. Several of the questions I was asked reminded me that every day, writers are trying to grasp this new publishing world. I thought it might be helpful to post their FAQs.
Should I post samples of my book on my blog to tempt people to buy?
You could, but you don’t need to. The ebook stores offer a sample of the beginning before readers buy. Here are two other things I do.
- I use the eye-catching animated widget from Bookbuzzr (here’s Nail Your Novel).
- I also have an audio file of the first 4 chapters of my novel – 35 minutes of listening, perfect for a commute. It’s either downloadable (hosted as a file in Google Docs) or there’s an immediate-play version on Soundcloud.
Should I make a print edition?
If you’re going to meet readers in real life, yes. For my talk, I’d brought along print copies. When I pulled them out of my bag, the reaction was immediate and adoring, as if they were fluffy kittens. Even from the Kobo staff. People picked the books up, flicked through the pages, stroked the spine, read the back (spine and back covers are as important as front). I was amazed, actually, at how much impact a print edition makes.
I have a post here about interior formatting, but it’s quite a faff if you’re not used to it. Which leads me to…
If your book is traditionally published, the publisher does a lot of jobs you’re probably not aware of. Developmental editing, copy editing, proofing, design of cover and interior, typesetting and ebook formatting. It’s a growing business to offer these services to indie authors, so The Alliance of Independent Authors has released Choosing a Self-Publishing Service 2013, with testimonials and warnings where necessary. Before you part with any money, get this book.
What can I do to market my book?
The guys at the KDP stand reported that this year’s number one question was ‘why isn’t my book selling’? (Some writers were ruder than that. I saw a furious lady collar an Amazonian and growl: ‘I have five books on KDP, what are you going to do about selling them?’. If Amazon starts offering marketing services, don’t wail that they’re evil. They get asked about it day in, day out. And it’s very unfair to blame them for it. They just give you the space to use.)
Amazon had some sensible replies: get a stand-out cover, choose categories wisely, write a cracking blurb, get honest reviews, generate curiosity about your work. And (the representative said this with an embarrassed cough): make sure the book is good.
More on marketing
Kobo’s Mark Lefebvre (on Twitter as @MarkLeslie) gave a rousing presentation on writers connecting with readers. One method was ‘street teams’. Remember The Tufty Club? These days, post-Tufty writers are inviting fans to join dedicated sites and giving away special editions, tie-in jewellery, bags and temporary tattoos. If it fits your genre (I can’t quite imagine a red piano tattoo myself) you could make up a few as competition giveaways.
Another tactic Mark described was authors who band together as a bigger presence. Group blogs in a genre such as Crime Fiction Collective, author collectives (such as Triskele Books and Authors Electric) curated collections such as the League of Extraordinary Authors). And of course there are themed blogs like my Undercover Soundtrack.
One of the takeaways is that marketing isn’t one-shot. It’s about staying visible, steadily and sustainably. As with the editorial and production services, there are a lot of marketing companies who’ll take authors’ money for campaigns, but you don’t have to do that. You don’t need a big budget to keep your work on the radar, you just need imagination and likeminded souls. Paid advertising and publicity has its place but there’s a lot you can do yourself.
Let readers pre-order your book
Did you know Kobo lets you create a page for pre-orders? I didn’t. Why would you do this? Because when the book launches, you then get a big spike of sales because they all process on the same day. This pushes you further up the charts and makes you more visible in the Kobo store. Now, if I can just get my blurb written for Nail Your Novel: Bring Characters to Life…
BTW I changed my Twitter name
If you follow my writing advice stream you might have noticed I changed my handle from @DirtyWhiteCandy to @NailYourNovel. @DirtyWhiteCandy was the original name of my blog. I kept it as my Twitter name because I liked its bossy vibe, but as the years go on, fewer people would know (or care) where it came from and if people are looking for writing advice they’d be more likely to follow a tweep called @NailYourNovel. These days, indie author-publishers are looking smart and slick, rather than roguishly maverick. So, much as I liked the @DirtyWhiteCandy story and sass, it has to go.
FAQ: Should I submit to publishers and agents or should I self-publish?
Hmm. Sound of teeth being sucked. Look back over this post and you’ll see the amount of work involved in publishing. You don’t just write a book, upload and hope the fairies tell the world. You need expert help to create it and you need partners to spread the word. Publishers and agents can be your allies if the deal is right.
One of the highlights for many was the heaving turnout at the Author Lounge in the digital quarter. Every author event was swarming with eager listeners. Authors report overhearing agents muttering about tumbleweed blowing through the foreign rights section, while on the upstart digital stands, all was abuzz.
But don’t be misled. In our own corner authors were calling the shots, but the rest of the conference told a different story.
1: Neil Gaiman
On the Sunday before the main fair, there was the Digital Minds Conference. The keynote speech was given by Neil Gaiman. I have to wonder what the delegates were meant to learn from him about digital media.
LBF’s press releases made much of the fact that he blogs and has a lot of Twitter followers. But, my friends, that’s because he was traditionally published. The publishers may have lauded themselves for inviting an author to tell them the way ahead, but they chose one who reinforces their faith in the old model. Even in his struggling years, Gaiman wasn’t like most new authors, writing books on spec while having another job. He was a contractor at DC Comics, getting paid while he made the work that made his name. In fact, why didn’t they ask JK Rowling, who famously lived hand to mouth while writing?
Better still, their figurehead could have been a bestselling indie author who made their success purely from publishing’s new digital tools. Hugh Howey, anybody? Instead they had Gaiman comparing publishing with a dandelion, throwing seeds out haphazardly and seeing what works.
2: Ahem – monstrous storytelling
Elsewhere at the Fair, the authors weren’t getting much credit. I went to the session on digital storytelling. This featured a panel of publishers and developers, but no actual storytellers – the authors.
One of the panel members, Henry Volans of Faber Digital, wrote an accompanying piece for the Bookseller, in which he mentioned Dave’s Frankenstein app. He credited it to the publisher, Profile Books, and the developer, Inkle. He never mentioned Dave, the author. Now, forgive the personal bias but I hope you’ll see it illustrates a wider point. Dave had the entire idea. He pitched it to Profile, figured out how to make it work, reenvisioned and expanded the entire novel to the tune of 150,000 words. (Here are his posts in case you’re curious: part 1, 2 and 3.) The developer (Inkle) was hired by the publisher to add software and graphics. The reader’s experience comes mainly from the writing, not the pictures or the machinery.
After yet another pundit wrote about Frankenstein and gave all the credit to Profile and the developer, Dave quipped on Twitter: ‘I very much enjoy Amazon’s Wool and Bloomsbury’s Harry Potter.’
Back to the Book Fair
Just two examples, but they betray a general attitude. In an era of revolutions, who gives publishers hope? Somebody who’s conquered the new world? No, a lovable demi-god of the old one. Who might tell them what new products the book might evolve into? The people who understand readers so well they can push the artform onwards? No, the middle men.
Authors still aren’t seen as significant contributors to the industry. And this is reflected in the deals publishers offer. They know you’re far more heavily invested in your book than they are and they’ll take unforgivable advantage. They’ll word the contract with woolly clauses that say ‘at our discretion’ and ‘in our opinion’, which mean they can do whatever they like with your rights and your manuscript. They’ll help you with the launch for a couple of weeks, after which you’ll be as alone as if you’d self-published, only you’ll make even less money. Leaving aside the emotional attachment, they have no idea that the work you put in on the average book probably amounts to two man years, and their contribution is a few man months.
Just tell me, should I seek a publisher?
I still think if you’re new to the industry you should query, because you never know what opportunities you might find. You might get feedback that helps you make the book better, or confirms you’re ready to reach out to the market in whatever way suits you.
An agent is probably more help to you at the moment than a publisher. Even if they don’t get you a deal, it’s a contact in the industry, should you need it. But also consider the agent’s motivation. They’re not risk-takers or talent-nurturers. They want you to make a deal, otherwise they don’t get paid. You might get an offer that looks like quite a lot of money, but it might be all you see and the terms might be punitive.
Publishers at the moment don’t seem to be worth the bother. Smart authors can do better for themselves, but this can’t continue. For a while, publishers will bluster on, trying to keep things the way they are. But in a few years’ time, they might be offering true partnerships and fair, transparent deals.
Bottom line? Explore all your options. Treat publishers like any other partnership or service you might use. Evaluate what they will do for you and what you will give them. Self-publishing offers you a powerful walk-away point, which you can use as a bargaining chip even if you want a traditional deal.
Thanks to everyone who dropped in to see me at LBF! If this post hasn’t bludgeoned you with options and confusion, is there anything else you’d like to ask about publishing?
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The files that make up this blog post are a twinkle in a data farm somewhere in the US. My books are too, blades of virtual grass in the electronic territories of KDP, Smashwords, Kobo and On-Demand Publishing. (If that’s already fried your brain, Daniel Marvello will no doubt save us with a comment that makes sense of it all, and straighten out my assumptions.)
We publish everywhere our language can be read. I’m sure most of the commenters here aren’t from the UK. So I’m quite amused to be invited to A Very British Blog Tour, which aims to celebrate authors from our small isles and pin down whether our national characteristics influence our work. I never even thought about what those were; I simply wrote. Anyway, do drop in for a cup of Earl Grey.(You don’t have to drink it.)
And out of curiosity, tell me: where are you reading this blog?
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My guest this week was an award-winning horror genre writer, but turned indie to try to write the sort of novel he loved to read. For several years he published nothing while he struggled with his new challenge – a high-octane blend of suspense, swagger, humour and romance. Looking for a way to humanise an unlikable hero he found a guiding light in Rod Stewart’s interpretations of American classics – a rocker thug who’d matured with surprising tenderness. He is Reb MacRath and he’s on the Red Blog today with the Undercover Soundtrack for Southern Scotch.
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Everyone’s writing prediction posts right now. I wouldn’t have dared, except the website On Fiction Writing asked what I thought might happen in the industry in the next five years.
Obviously writers can’t be oblivious to what’s going on in publishing, but if you look at what’s changed in the past two years, do we have a hope of predicting anything with accuracy? Anyway, who would trust the predictions of anyone who makes things up for a living? Worlds, economies, social movements roll out of our imagination to suit whatever story we want to tell. (And I see they put my interview next to a novel called The Mad Scientist’s Daughter. Adorable cover anyway.)
The only certainties I can predict – for myself and for other writers in 2013 – are these.
- I will need to weigh up several new social media environment and decide if they’re worth the effort. I will need to remind myself that once upon a time I was scornful of Twitter, Facebook and even – gasp – blogging.
- I’ll need to embrace at least one new platform for publishing, on a device that I don’t see the need for. I will have to remind myself that putting Nail Your Novel on Kindle turned out to be a brilliant move.
- I’ll never decide what’s worthwhile unless I have help – which I will probably find by firing off a tweet or a Facebook post to all you guys.
- I’ll get stuck on the novel I’m writing, and when I think all is irretrievably lost the answer will fall effortlessly onto the page. (I talk about writer’s block in my interview, in case you’re wrestling too.)
- I’ll discover several writers whose work contains such insight, I will not know how I did without them (I talk about favourite writers too)
Predictions aside, I’m also talking about self-publishing, publishers developing new roles as partners for indies, finding readers – and ghostwriting. Do join me there and if you’re in a predictive frame of mind, leave a comment here with conjectures, projections and outright fabrications and fantasies for writers in 2013.
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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(If you’re not a Shamen fan, that headline will make no sense. Try saying it out loud. And admire your instant cockney accent.) Making the special print edition of my novel made me think how we still like a book we can get our hands around. Come over to Authors Electric where I’m trying to pinpoint what we love about dead tree books…
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More indie authors than ever are interested in serialising their fiction on Kindle and it’s one of the topics I’m most frequently emailed about. (And with Amazon’s announcement of Kindle Serials, I guess the trend is going to continue! More on that below…)
At the time I serialised my novel I wrote about it on Jane Friedman’s blog and Tuesday Serial. But these questions from Michael Stutz, who serialised his literary novel Circuits of the Wind: A Legend of the Net Age, highlight points I haven’t covered before – what to do once you’ve released the final episode.
Michael: Like you, I’m a longtime legacy author who is now experimenting with indie, publishing a 700 -page literary novel in episodes. A lot of what you wrote in your guest post at Jane Friedman’s blog is things that I’m either going through now or discovered the hard way.
Have you found your complete version sells more than the individual episodes?
Yes, definitely. Get your complete edition out as soon as you can. For many reasons -
- it’s easier to link to just that one, so that’s the link you want to spread around
- it’s more convenient on the Kindle – four episodes clog up the screen and look confusing (which I was blissfully unaware of when I hatched my serialisation plan)
- you want to start gathering reviews and it’s best if they go on the full version
Although serialisation was exciting as a launch pad, I’m not sure that readers appreciated being interrupted mid-stream. Some told me they wouldn’t buy until the final episode was up. Others told me they’d knocked stars off their reviews for the inconvenience of waiting (this seems irrelevant when a review will be read in several months’ time, but it just goes to show you don’t want to annoy a reader). I released my complete edition as quickly as I could to grab the interested readers before they decided I was making life too difficult for them.
I wondered about this. But I decided to keep them because:
- People are still finding them. I don’t know how, as I long ago stopped giving out those links, but they must be simmering on distant posts far away. Episode 1 sells the most copies – which possibly demonstrates how much the links were shared because serialising was a story in itself. But I also get surprise sales for the other episodes, so some people might be completing the novel extremely slowly!
- The episodes give me more visibility in the Amazon store – 5 entries for the Kindle book instead of just 1 makes it look more substantial (or annoying, see left… no idea what that camera is doing in a search for My Memories of a Future Life…)
- Episodes are a good way to use KDP Select lending. When KDP Select launched, I wasn’t keen on enrolling the whole novel or my writing book for lending or free promotion. But offering just the first episode is a terrific calling card – both in the lending library and sometimes also free. So because episode 1 is on KDP Select, I have to keep the other parts available for sale.
Michael: What about the Amazon customer reviews – did you have to start with zero again for the complete version, and wait for new reviews?
Amazon understood that the complete book had the same content as the episodes, but regards them as different publications and won’t transfer the reviews. That seems entirely fair to me – but it does mean that you launch the full book with a worryingly naked star rating. The sooner you do it, the sooner those early adopters will review where it helps you most. (And I found they didn’t mind being nudged in the right direction…)
So while it’s frustrating to have reviews that don’t count on the book’s most visible page, browsers still see that when the book was serialised it had good feedback – which all helps to demonstrate a buzz about the series.
STOP PRESS – just as I put this post to bed, Amazon announced the Kindle Serials Programme. If you are chosen for it, it looks as though this takes a lot of the faff out of it. A community gathers around the book, allowing discussion with other readers – and I guess this might collate reviews together too. You don’t have to organise separate launches (as I did, which was time-consuming) and it seems much easier for readers to keep track of the episodes on the Kindle because they’re updated automatically. This means there probably wouldn’t be any need to release a separate complete Kindle version as readers who found it afterwards would get all the episodes in one go. (Perhaps we early serialisers paved the way for them….) You do have to pitch your idea though – which means you can’t just opt in like KDP Select – and we don’t know what their gatekeeping criteria are.
If you’re thinking about serialising, whether it’s the old way or this brand new one, make sure your novel is in good shape for it. Chopping it into parts is a rigorous workout for your novel’s structure – especially if you didn’t originally write it with serialising in mind. This post might help:
This weekend is my novel’s first anniversary (give or take an episode or two). So my blogging schedule is being turned upside down (which is why you’ve got a post today) to make room for something a little unusual and creative. I hope you’ll like it. There will also be a competition with a special prize (top secret at the moment). To make sure you don’t miss it, subscribe to my blog (somewhere in the sidebar) or sign up to my newsletter (somewhere in the sidebar and also here). See you at the party
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Last week I posted on Terri Giuliano Long’s site The Art and Craft of Writing Creatively and in the comments got into discussions about where indie publishing is heading. One of the commenters was Daniel Marvello, who afterwards sent me this email …
You said, ‘2012 will be the year we organise ourselves with quality control’. I love that! And I’d love to know what was in the back of your mind when you wrote it. What do you see changing in 2012?
(As you see from Daniel’s picture, he’s fond of the crystal ball.)
What was in the back of my mind? No big plan, unfortunately. I can see this is what we need, but I haven’t a grand solution. But there’s no better place to talk about it than on my blog with you guys.
For those of you who’ve sat down late, 2011 was the year when many high-profile fiction writers with respected followings went indie, and gave good reasons for doing so. Before then, if you self-published fiction you risked nuking your credibility. But it’s also led to a rash of people uploading to Kindle or CreateSpace or Smashwords but not taking care about quality. Result? It’s raining slush and nonsense. Readers who’ve bought unreadable books are muttering ‘vanity press’ all over again.
Where does quality control come from in traditional publishing? From skilled professionals. Authors don’t do it on their own. Here’s Daniel again:
Most authors ignore advice to get an editor now. What might change that? What will prompt authors to let another set of eyes look at their manuscripts before they click “save and publish”? Can something be done to make such resources more appealing or easy to acquire and use?
The way I see it, there are two issues to address with quality control:
- production – putting out a book with no grammar howlers, formatting glitches, funny typesetting or misprunts
- whether the content is good enough.
One problem is very much easier to solve than the other, but let’s eat this elephant one bite at a time.
Why do indie books fall down on production quality? Several reasons.
1 – Indie authors may not know what’s done to a book in traditional publishing. They might have heard about the artistic side of editing – the developmental work to strengthen the story and literary quality. But they frequently don’t know about all the other trades who wade in once the words are right – copy editing, proof reading, text design, cover design, ebook formatting. Take any debut author who blogs and at some stage they’ll pen a gobsmacked post about how much checking and polishing goes on.
What might change this? We tell people, as often as possible, how much work goes into a published book. You don’t always need separate experts, but these jobs all need to be done. They’re not an optional extra.
2 These services cost money. Personally if I was new to publishing and someone told me I needed to pay for all that my reaction would be ‘pull the other one’ – especially as publishing on Kindle and Smashwords is free. But even when you do decide you’re going to invest, how do you find a reputable pro? Authors have always been easy targets for scammers. Not only that, there are hordes of people setting themselves up as editors when they haven’t the experience.
What might change this? Writers need to find out where the professionals go. A good start might be author groups – for instance, at Authors Electric we’re setting up a list of people we’ve used and would happily use again.
3 Some people simply refuse to be told. If I go into the reasons we’ll be here all day, but there are a lot of those. (You, my friends, are not, or you wouldn’t be reading this blog.)
What might change this? Confiscating their laptops, probably
Now that last remark may seem facetious and unnecessary, but it underlines a point. As indie authors we have to do everything we can to rise above the trigger-happy Kindlers, because they make it hard for the rest of us to be taken seriously.
Not just presentation
So we can lick production quality. That, as I said above, is the easy part. What about the content, the artistic merit? In traditional publishing, the lame books are rejected and the good ones go through a developmental stage. (Yes terrific books are rejected too, but the author is usually made well aware that they were good.) This brings me to another interesting question that Daniel raised.
If people won’t use editors, can we realistically replace them with critique groups and beta readers?
ie, is it possible to get all this input free?
Sorry, guys, I don’t think it is. In the real world that doesn’t come free. Agents and publishers do it as part of their job. Critical feedback of that type takes experience and judgement.
Critique groups and beta readers will give very valuable input, and should definitely be used as well. But they aren’t a substitute for professional critical help – they cannot give your book close, considered attention. I’m not advertising myself here, but when I critique a manuscript the work takes two concentrated weeks at least, with plenty of time taken to consider what the writer wants to do and how I’ll teach them what they need. (In fact, if you imagine your normal rate of pay for two weeks’ work, an editor’s fees start to look cheap. And it’s also why you can’t expect anyone to do it ‘on the side’.)
And another thing
There’s another issue we need to address with quality control. It’s letting good work rise on merit.
If you can have buyers’ markets and sellers’ markets, indie publishing is a marketers’ market. If you’re good at marketing, your book rises higher. But a lot of cool, exciting and original books aren’t getting the exposure they deserve.
Indies are starting to tackle this in author collectives – groups to curate the good authors. And proper, critical review sites where indie books are expected to be as good as anything traditionally published. Authors are already taking this into their own hands – Tahlia Newland with Awesome Indies, Authors Electric with Indie ebook Review, Multi-Story, Underground Book Reviews, The Kindle Book Review.
But each group or review site is only as good as its critical scruples.
Does this look familiar? It’s a system of gatekeepers. But hopefully, ones motivated by editorial integrity.
Here’s what we really need to do. Ultimately we need to reach readers way beyond our own little blogosphere of indie publishing. We need to win the respect of the major book reviewers, because right now we’re preaching to the choir, and this is not sustainable.
It seems a natural moment to mention that my novel is up for the Summer Reads awards at Underground Book Reviews. The winner is decided on a vote, so if you’d like to tip the balance in my direction I’d be very grateful.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Is my book paranormal or literary? And which age group is it for? How to categorise your novel March 9, 2014
- Reading revolutions: serialising a novel – interview at the Malaysia Star March 6, 2014
- ‘This song says it’s time to get serious’ – The Undercover Soundtrack, Rebecca Cantrell March 5, 2014
- Planning your story – a checklist for success: and win Nail Your Novel in print! March 4, 2014
- Publish or selfpublish? Advice for the 2014 writer March 3, 2014
- ‘Music that flows into the marrow of the soul’ – The Undercover Soundtrack, Birgitte Rasine February 26, 2014
- 7 stages of writing a book – video discussion at IndieReCon February 25, 2014
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