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Posts Tagged self-publishing
You really know you’re in a world wide web when an email arrives from a journalist on a newspaper in Malaysia. Elizabeth Tai contacted me for a series she was writing called reading revolutions. She’d seen that I had originally released my first novel, My Memories of a Future Life, as a four-part serial on Kindle, and wanted to ask me how that worked and why I did it. We talk about pros, cons, cautions – and tips I’d give to anyone considering doing the same. Come on over…
And in the meantime, tell me: where’s the furthest-flung place you’ve had a surprise email from about your work?
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This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
1 Whether you intend to go indie or not, learn about selfpublishing
- then you’ll know how to weigh up the value of a publishing deal. As well as the money (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But if you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 It isn’t either-or.
Whether you start as indie or traditionally published, you won’t always stay that way.
Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might reissue their backlist or publish in co-operatives with other authors. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project. Some publishers are experimenting with partnering deals – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.
Thanks for the pics, Official US Navy Imagery, Joanna Penn and London Author Fair
What advice would you give to the 2014 writer? Let’s share in the comments
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Do you need help to get your novel started or finished? Four of us experienced scribblers talk about how we stay creative through the tough times and reveal our secrets for drafting, fixing and finishing, not to mention keeping our confidence. Solutions include running, composing music, meditation and lying on the floor scribbling on sheets of A4 using the hand you don’t normally write with.
My co-conspirators are Orna Ross (who is the author of Go Creative, several literary novels and leader of the Alliance of Independent Authors), Kevin Booth (who’s a translator as well as an author and trained as an actor before he took up writing), and Jessica Bell (who runs the Vine Leaves Literary Journal as well as having a parallel career as a singer-songwriter, which you might well know already from her appearances on The Undercover Soundtrack).
We’re forming the creative posse at IndieReCon, a free online conference for writers at all stages of their publishing careers. Do come over – and check out the other terrific events in the line-up. There’s info from all kinds of experts in publishing, writing and marketing.
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You may recognise Helen Hollick as a recent guest on The Red Blog, where she stirred up a storm with raging seas and black-hearted doings, all devised with the music of Mike Oldfield, among others. She’s also a bestselling author who’s hit major charts with her pirate novels, so that’s probably a better reason why you might know her.
After she guested for me, she was curious to find out more about how I use music and how I developed the idea of The Undercover Soundtrack into a blog. Especially as it’s been going for more than two years now – and contributors are now lined up into July!
Some of you NYN old-timers might have heard this tale before, but in case you haven’t, or you want a brief intro to my fiction, or you want to see where Helen lives on line, head over to her blog …
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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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My new novel isn’t set in the world of music and none of the characters are musicians. It’s a quirky take on the future dystopia/utopia, with a smattering of Arcadia too – misty woods, abandoned towns, a forbidden life by night; the scent of bygone days; and an enigmatic door in a dream. Behind the scenes, though, music did all the early work for me. The first, rough outline came to me from favourite tracks by Boards of Canada, Peter Gabriel, Vangelis, Enya, Ralph Vaughan Williams and the Hungarian electronica composer Gabor Presser. As I built the story I listened to them repeatedly, and now each of them represents a landmark on my main character’s journey. Join me on the Red Blog, when I’ll explain the Undercover Soundtrack for Lifeform Three.
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When I write a report about an author’s novel, it usually runs to at least 25 pages of detailed notes and developmental suggestions, plus annotations on the manuscript. Sometimes I’ve written 60-page reports. Although I make my responses constructive and helpful, and discuss strengths as weaknesses, I know it’s daunting to receive such a screed. I know my writers think ‘crikey, she needed to say all that? Did I get it so wrong?’
And this: ‘I thought the book was perfect. What kind of shambolic half-wit does she think I am?’
Well today, I’d like to let you know how the editor sees your book.
My open letter to the edited
Although it may be hard for you to believe when you see the size of my report, I know your manuscript represents aeons more time than the hours it takes me to glide through with my editorial eye. I never underestimate the care you have put in – because I write novels too.
I know the painstaking research and life experience you’ve used to create the world and the plot.
I know you invented – from nothing – a long, twisty path between beginning and end, with carefully laid crumb trails, reversals and surprises. And that it didn’t all happen in one Eureka moment.
I know you’ve chosen every name after careful deliberation – and possibly many rejects. Ditto for the style, language, themes.
I know this manuscript is the result of many decisions and readjustments, made month after month – and that although you might have beta readers, the only thing you could rely on was your own spider sense. Although I might remark on research, locations, character back story and other material that does not fit, I know that you have reams more, which you were already disciplined enough to excise.
I never forget that the draft you give me doesn’t represent just enthusiasm, but also dedication – to persist when the problems were drowning the pleasure.
So yes, you get reams of comments from me, and they’re usually a shock because you thought you were done. But when I write them, I don’t feel like I’m telling you you’ve done it wrong. I feel I’m pointing out the details you didn’t have time, distance or expertise to see because you were already doing a superhuman job.
And so, when this editor sends you her notes, she also sends her admiration.
Thanks for the pic soccerlime
NEWS The print edition of Lifeform Three is now available! If you’re wondering what it’s all about, it’s been amassing some nice reviews, which you can see here, and I’ll also be sharing its Undercover Soundtrack on the Red Blog this week. Hope to see you there.
authors, deepen your story, editors, entertainment, fiction, finding an editor, Fix and Finish With Confidence, how to write a book, how to write a novel, My Memories of a Future Life, novels, publishing, revising, Rewriting, Roz Morris, self-publishing, working with an editor, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life
Just a brief post as we all duck away for a thorough Christmassing. Lifeform Three is now up and alive on the Amazons and Smashwords. I’ve loaded it on Kobo and it should shortly be appearing there. Print proofs are in transit from CreateSpace, so in January I hope to have the feelable, giftable, signable, alphabeticisable, filable, decorative version … (Can you tell I prefer print books at heart? Our house hardly needs walls. It has bookshelves.)
I’m still trying to work out which Amazon categories would suit it best. If you pick your categories cleverly you maximise your chances of being seen by casual browsers. In one respect Lifeform Three is science fiction, but early reviewers are making comparisons with Ray Bradbury, Margaret Atwood and Kazuo Ishiguro – all very lovely, but it’s not what most people imagine by the term SF. It’s now possible to fine-tune your book’s categories on KDP by inputting keywords in your descriptive tags, so I’m going to be doing some experimenting in the next few weeks. In case you’re interested, here’s a handy link with a full list of those magic words that could get you wider exposure.
And Lifeform Three now has a website – an online home I can put on my Moo cards (also on the to-do list). At the moment it’s a mere page but I’ll be adding to it. So if my remarks about misty woods, whispering memories and lost doors have got you curious about the story, seek the synopsis on its website or at Amazon.
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My guest this week says she can ignore just about any distraction and write – except if she can hear music. But she also can’t write a character until she has found the perfect song as a vehicle for their personality, back story and secrets. Her debut novel fits rather well with this blog for another reason too – it’s the story of the world’s most reincarnated man, with all the troubles – past and present – that that implies. She is Candace Austin and she’s on the Red Blog with her Undercover Soundtrack.
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Forget the alien on fire. Delete your sparkly apocalypse. Say hello to misty woods, abandoned towns, secrets in the landscape, a forbidden life by night, the scent of bygone days and a past that is itching to be found. Say hello to a door in a dream that seems to hold the answers. And this is science fiction? Oh yes, in a literary, unusual sort of way. You’ll see.
I’m quite excited now! I’ll let you know when it’s up. In the meantime, my to-do list is full of notes such as ‘fit the new cover into the artwork at the top of the blog without making it nonsensically crowded’, ‘update end material in other books’, ‘book myself a spot on The Undercover Soundtrack’…
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- 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
- A conversation about story structure – and writing rules February 23, 2014
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