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Posts Tagged writing business
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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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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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.
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I nearly made a big mistake.
You remember a few months ago I blogged about the development process for the cover of Lifeform Three.
Oh it was brilliantly nifty. To save you reading the original post, I made dummies of different concepts and asked people to interpret what they said about the book. I thought this was a good way to teach myself the language of covers, which I’m not exactly fluent in. But I have to confess there was one flaw. In my haste and certainty, I neglected one thing.
I didn’t get the opinion of someone who’d READ the final version.
Getting reviewer reactions was another thing I’ve left until the last possible moment. It’s because I like to do my ultimate edit when I’m making the paperback. If I see typos or edit to change line lengths, I want the print copy to be identical to the Kindle and ebook versions. Also, seeing it properly typeset is a great way to see errors or awkwardnesses you’ve got used to tuning out on your standard Word display. I wouldn’t recommend editing on page, though, unless you’re setting your own book interiors. An external designer won’t like all that faffing. (But you could change your font in a late editing stage and see what new horrors you spot.)
So. I finished my interior and zapped it off to the people who’d asked for advance copies. One of them came back: ‘That cover is badly wrong for this book. Really.’
I have to admit it was not what I needed to hear. Not after many months of on-off cogitation with no concepts that would work (the designer’s a friend, though he might not be now). By the time I got the final version we were out of ideas.
In case you’re wondering, it’s this:
When I tried it on my cover group, I liked some of the reactions. Nature, rebirth, 1970s sci fi (it is in the tradition of Ray Bradbury, so that was good). I also had aliens (no), apocalypse (no), body modification (thrice no!)
I thought that, bar a retune to quench the apocalypse, we were there.
Until my friend made his apologetic suggestion. And then proceeded to demonstrate, in a long email, that he understood my target readers better than I do. Darn, he was right.
This is what makes writing so curious – especially literary fiction. You think you’ve controlled everything the reader feels about this event and that character. You’ve set it up with minute care. You’ve made sure the themes are catching the right amount of light. You get your images and language humming together, your gut instincts are satisfied.
But it’s as if you’re making a machine, and you really don’t know what it does until you set it going inside the mind of a reader.
We’re used to getting feedback from critique partners and editors, but they’re so involved with the building of the book that they can’t judge it afresh. Certainly my lot had no more distance than I did, and in any case my overall thematic impression didn’t come together until the final edits. And although a designer would be able to give you the fresh perspective by reading the novel, they usually don’t have time to (except at the most prestigious end of traditional publishing). So now I’ve learned the value of keeping somebody back for this final stage, a reader who hasn’t seen the stumbling versions, who will test-drive the book and tell me what I’ve made.
At least this is the virtue of being indie. If we’re not tied into a list or a corporate look, we can try completely different identities for our books. That cover is one way to interpret the book for a particular market, maybe. But it’s not what I need to emphasise. Blitz it from your mind.
I’ll show you the new cover tomorrow. You will hoot when you see how drastically I nearly went wrong. Crumbs. Thank heavens for wise friends. (And if you’d like an advance review copy of Lifeform Three, email me on rozmorriswriter at gmail dotcom)
In the meantime, tell me: has someone stopped you making a big mistake with a book?
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I’ve had a question from Samantha Warren, who saw me at the Get Read conference, where publishing journalist Porter Anderson was interviewing me for a session on reaching readers. Some of the discussion was about balancing all the demands in our lives – social media and promotion versus the writing and production of books. In reply, I waved a notebook that I use to keep myself organised, not to mention sane.
Samantha has emailed: First, where did you get that fabulous notebook? Second, how do you organize your to-do list using the notebook? I have post-its everywhere! Any advice you might have for a disorganised amateur would be greatly appreciated.
First things first. The notebook was a freebie at the London Book Fair 2011; a dummy book with blank pages produced by print company CPI Books to advertise their services. They’d probably be pleased to know it’s standing up well to daily use.
Post ideas for this blog (that’s another one crossed off… crossing off is incredibly satisfying, so you must do this)
Consultancy enquiries and bookings, with dates
Events checklist – I refer to this if I have a reading or an event, to make sure I take everything I need. It includes printout of speech or prompts on notecards; backup on Kindle; copies of my books; Moo cards; pens for signing (my handwriting is so dreadful that my signature only looks right in cheap Bic biros….); camera.
WIP reading lists – each book gets a separate page: The Mountains Novel; The Venice Novel; The Flying Novel. That one’s just hatched, after a conversation I had with a gentleman who came to a signing and wanted to talk about My Memories of a Future Life.
WIP launch notes – again, one page for each book, including bloggers who’ve expressed an interest, reviewers, Twitter folks and websites on related subjects who are worth approaching.
Blog and website tweaks – I’m always thinking of improvements I could make to this blog, my writer website and The Red Blog. Fiddling with websites is a great way to fritter away your hours, so I wait until I’ve got a purposeful list, then work my way through it. And cross things off.
Special projects – when I redesigned the cover of Nail Your Novel I made a special page for all the fiddly jobs I’d have to do, such as redesign the livery on the blog, websites I needed to update.
Style guide for the Nail Your Novel print books - as the books are a series, they need to follow a consistent format. Crossheads (including their spacing), title page, copyright page and so on are uniform in all the titles. So that I don’t have to open the previous book and pick through the typesetting menus, I wrote out a house style page.
Which brings me to ….
When I ran an editorial department I had a big ledger that was a schedule for the entire imprint’s output. Every stage of a book’s production process was listed so that nothing got missed: Copy commissioned; art department briefed; interior design approved; copy in; copy edited; 1st proof; 2nd proof etc. When you have 30 titles on the go at once, you utterly believe in systems.
If you’re not self-publishing you won’t need this, but if you are, you might find it useful. I don’t tend to chart the writing stages (eg first draft, beat sheet, edit, beta readers etc), but I do list the publishing nitty gritty. This is just a selection:
- Cover finalised
- Proper images bought (it’s easy to let watermarked roughs slip through on a PDF because you get used to looking at them)
- Book on Kindle
- Book on Kobo
- Book on Smashwords
- Spine finalised
- Index done
- Page numbers taken off prelims for book interior (title pages etc shouldn’t have folios)
- Back cover copy written
- Back cover fully designed.
I also keep track of other places I need to update once the book is published:
- Recent Releases page
- What’s Next page
- website images and headers
- teasers inside the other books
- Amazon author pages
- group blogs I need to inform etc.
So that’s my to-do book. Is there nothing a blogger won’t post about? Here are my writing scarves.
EXCITING NEWS! A while ago, The Guardian Newspaper asked readers to nominate their favourite self-published books. Out of 3200 authors, they featured 34 that were featuring frequently – and My Memories of a Future Life was one of them!
I was so thrilled to see my book made the list, so I’d like to say enormous, heartfelt thank-yous to everyone who took the trouble to nominate me. I’m still grinning.
In the meantime, tell me: how do you keep track of your to-do list? Share in the comments!
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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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I’m slightly early with my post this week. On Saturday I’m an author in residence at Barton’s Bookshop as part of the national Books Are My Bag celebrations this week. After that, Morris HQ is on cyber-shutdown for the weekend as we celebrate a friend’s 40th. Just as I was wondering what (on earth!) to post about, this question popped into my inbox:
‘I have to give a presentation about my novel at college. Could you give me some tips on what to talk about? Thanks, Fahim’
Thank you, Fahim. Since I’m going to spend the day explaining my books to complete strangers (and hoping not to frighten them) I could do with thinking about this. So whether you’re wooing a class, an agent or just one interested book lover, here’s an express guide to pitching your book. It’s a brief post, but attention spans are short… ooh, tree mammal.
1 The novel in a nutshell
First, they want to know what it’s about. Orientate them with a polished one-liner that gives a clear idea of the kind of characters and the story – eg ‘it’s a novel about five friends at college who murder somebody and have to live with the consequences’.
2 Get the title in early
Make sure your one-liner explains the title, or makes the title intriguing. Your audience will probably remember no more than a couple of details. You want one of them to be the title and its tantalising promise.
3 Get personal
Tell them why it became your personal mission to write the book. If you have an anecdote about your initial inspiration, that helps pull the audience on board. Hint about where your research took you and why there’s much, much more than you could say here. Single out key characters with strong dilemmas; people are more memorable than themes. Weave in comparisons with other novels or films if they’ll help make your point more strongly, but they’re not essential.
4 Is there scope for a reading?
Obviously you won’t give a reading if you’re buttonholing an individual. But if you’ve got a bigger audience, it might be natural to round off your talk with an excerpt. If so, context is everything. It’s hard for listeners to plunge into the middle of action, or adjust their minds to a section of dialogue. Whatever you choose to read, make sure it continues the threads you’ve been tempting them with so far. Perhaps a tricky, cruel character, or the awesome difficulties of spending the night in the same house as a dead Mafia boss. You can find more tips here on choosing a passage to showcase your book.
It’s a national campaign to celebrate bookshops. If you’re in the UK, drop by your local bookseller and see if they’re breaking out in bunting, orange cake and sloganed T-shirts. Chances are, if you buy some books, they’ll give you a smart tote bag. If you don’t, they’ll probably set their pet authors on you…
Thanks, Fahim, for the inspiration. (And thanks Alexisnyal for the pic) Do you have any tips to add?
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There will be changes
Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.
There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.
Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)
Anyway, most of us swallow hard when the detailed report arrives. This is what I do.
Critique report survival tips
Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).
1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.
2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.
3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.
4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.
Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.
For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.
Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)
If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.
What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.
Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.
It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)
The beat sheet is one of the tools described in my book Nail Your Novel … more about it here
Thanks for the pic Brainedge
Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!
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The other day Porter Anderson at Writer Unboxed examined the popular notion of the lonely writer hammering out a novel in solitude. It provoked some interesting discussions about the way we do our work or accommodate our hobby in a busy life.
Chez Morris there are two writers. With no children. When you’ve read this post you’ll agree that’s for the best.
I realise some of our routines and habits must look peculiar to outsiders. But maybe they’ll also look familiar too – especially if you are similarly afflicted.
1 Zombie face
When we’re both deep in writing, it is hilariously difficult for us to have a conversation. When we do, it’s as if we’re trying to talk over a noisy background of in-head chatter: story problems we didn’t solve and new ideas that are streaming in. The real person on the sofa seems to be at the far end of a tunnel.
2 Random outbreaks of notes
We are drowning in paper. Junk mail and envelopes must be binned immediately or they will start to grow a colony of notes. Once this begins, the notes must stay where they were born and may not be thrown away for months.
The most everyday conversation might trigger a sudden need to scribble. While in the car, Dave (who does not drive and therefore has his hands free) often finds himself instructed, like a secretary, to grab the notebook and take dictation. Of course we have a notebook in the car. Don’t you?
3 Other rooms requisitioned
We each have a study, but sometimes we need a change of scene to refresh, cogitate, read or pace with a busy mind.
Suddenly one of us will find we can’t use the dining table because husband is outlining his screenplay on index cards. Wife starts to rue the day she wrote Nail Your Novel. (But is also amused that husband uses it.)
Our rooms would be 15% bigger if we didn’t have such a book-buying habit. Upside: no need for pictures.
…which leads to
With such a vast book collection, they have to be kept in organised places. Dining room for books on history and exotic locations; bedroom for SF, short stories and poetry; my study for fiction; Dave’s study for comic books, mythology and folklore. This careful organisation is banjaxed when a book is appropriated for a WIP. It will make its way into a mysterious pile whose order must not be disturbed. It might grow a fringe of cryptic Post-It notes saying ‘Anne’s sunrise’ or ‘part 2’. Apocalyptic fall-out if other partner wants to use it too.
6 Inability to make long-term arrangements
When a book is near to boiling point, whether there is an external deadline or not, making plans with friends is impossible. Do we want to go to a concert with x and y in three weeks’ time? Er, don’t know, is the answer, because the WIP seems to fill up everything. Even though when that evening comes we might knock off at 7 and open the wine.
7 Moral support
We both know that writing involves a lot of time despairing that our work is rubbish. And we also know how precious we sound when we agonise about it. And how writing is not truly hard like, say, brain surgery or bomb disposal or counselling traumatised asylum seekers. We know we’re soft and ridiculous.
8 Unflinching critiques
Yes, we critique each other, and the kid gloves are off. They were never on anyway. Dave is used to collaborating with writing partners. I’m used to editing and ghostwriting. We’re both too bothered by rough work to worry about ruffled feathers. So our manuscripts get tough love and there is grumbling. But it’s better to keep mistakes within our walls than let an editor, programme controller or a reader see them.
9 Self-publishing v traditional publishing
We’re from different publishing cultures. Which is interesting. Dave’s written more than 80 books (I had to google that) for traditional publishers and he’s worked for games companies. When he has an idea, he knows how it fits the market and which editors might like it.
Me, I write and then find I don’t fit any commercial editor’s needs. Thus I discovered the culture of entrepreneur indie-writers.
And so we are a curious microcosm. In one room, commercial traditional publishing. In the other, commercially-challenged literary indie. In times of strife, the grass often looks greener.
For instance: when we both launched works of fiction.
With My Memories of a Future Life, I’d have sold my soul for an influential endorsement. When Dave launched his reimagining of Frankenstein with Profile books, he was phoned by the national newspapers, appeared on several BBC radio arts programmes and given a login to blog on the Huffington Post. While I was thrilled to see him get such major attention, there was a bit of green-eyed grousing. Several times he was treated to the speech that went: ‘no matter how good my book is, I could not get a start like that’ etc etc. (A lot of etc.) But a year or two on, he’s not as free as I am to make different editions, market it worldwide and do what he feels is needed to keep the book alive. Swings and whatnots.
Anyway: those books are done and more are incubating.
And so we return to #1.
Do you live with another writer, or do you have a close relationship with one as a critique partner? How does it work? If you are the only writer in your family, how does it fit in with the other people in your life?
authors, criticism, critique partners, Dave Morris, Fix and Finish With Confidence, gaming, having ideas, how to write a book, how to write a novel, lonely writer, My Memories of a Future Life, novels, Porter Anderson, publishing, Roz Morris, self-publishing, solitary writer, videogames, writer support, Writer Unboxed, writer's block, writers' families, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, writing lifestyle, writing routine
All the scribbling world is going indie. New, unpublished writers are, to establish themselves – even if they’re agented. And experienced, well-regarded authors are leaving their imprints – either being dropped or deciding to seek a better way to release their work.
While publishers are probably not short of new material, we know they watch the indie scene to see who does well. At the moment they pounce on the Hocking and Howey high fliers, but in a few years’ time they’ll have a different breed of writer to consider: the well established indie with a clutch of books and a growing audience. The kind of author who used to make up the midlist. I’m wondering, what deals would they offer?
For most of us it’s unlikely to be bidding wars. But one thing’s sure. It’s really going to test the industry because it can’t be a standard midlist deal. Most indie authors will have outgrown that.
Help with production
How much production help will a competent self-publishing author need? Of course, some writers loathe production and will be glad to hand it over. Others, though, relish the control (like yours truly) or will have it so smoothly managed that they’d rather hire the help themselves than hand over a bigger share to have it arranged.
A publisher might be able to offer an economy of scale – although they have often cut staff so much they are using the same freelances who are hired by indies.
Here’s an added complication. The book needs to look professional. How would a deal legislate for a situation where a writer’s production values look like a home haircut? Spin it the other way: what would stop a publisher vetoing an outside editor to keep the work themselves and accrue extra percentage points?
I’ve already made this more complex than I imagined. Suffice it to say: production costs will become a negotiation point.
Help with promotion and marketing
I’m guessing that one of the prime reasons for partnering with a publisher is to gain kudos, exposure and credibility in places we can’t reach by ourselves.
We all know that if a publisher pulls out all the stops they can make a huge difference to a book’s fortunes. But most of the time (ie if they haven’t paid big bucks for the author), they can’t afford to.
What most non-starry authors get is a few mentions in the national press. That can certainly send an indie author reeling with delight. But does it sell copies? The evidence is that it doesn’t. Most books don’t sell unless you keep them constantly on readers’ radar. A splash in the press is short term. Indie authors know they have to keep a sustained campaign of advertising and promoting. The midlist author launch package is little more substantial than a token cork-pop at the book’s birth. It won’t keep the book alive, month in, month out.
There’s worse. At the moment, when you sign a deal, publishers are often secretive or vague about what marketing they will do. They’re used to the writers being so overawed that they never have to explain what exactly will happen or how brief the publicity flare will be.
Indeed, it’s shocking how meagre a publisher’s marketing plan might be. One writer I know was asked for a list of blogs the publisher could contact to run posts about the books. Up until then, the writer had believed the publisher would use their own special contacts, not people the writer already knew about. Another author friend, after two successful books, was sent on a social media course. He learned nothing he couldn’t have gleaned from reading a few blogs.
However, many of my writer friends are excited about the Amazon imprints – even authors who feel they’re finished with traditional publishing. Why? Because Amazon have developed and honed an amazing machine for finding readers. What’s more, the algorithms can work long term with emails and targeted deals. That’s the kind of help we would all take seriously.
I haven’t even mentioned ebooks. As ebook formatting is one of the simplest things for an author to do or source, few of us will need help to make them. Where will a publisher add value? Publicity? The trouble is, their publicity machine is still wedded to print territories, whereas indies are already marketing on the, ahem, wordwide web. Perhaps publishers will start to think globally. Or perhaps ebooks will be left out of publishing deals with indies, as those markets may already be well served.
Getting copies into bookshops is one area where indies struggle – and traditional publishers are acknowledged masters. However, go into your local Waterstones or B&N and you’ll be bewildered by the acres of book spines. What’s the likelihood of someone finding your book by chance, even if it’s there? Except for prominent displays (which aren’t given to every author), publicity is what makes readers pick up a book or ask for it to be ordered – and indies can already get onto the wholesale lists at very little cost. We don’t even need to buy the ISBN. So it is my contention that well targeted, long-term publicity is more significant to an author than distribution to a lot of shops. Do feel free to disagree.
Help with development
It probably seems cockeyed to consider this last. We can’t deny that editors can add a vital nurturing influence. Although successful indie authors will already have their infrastructure for making a book good, few of us would dismiss the chance to do it better. Or am I dreaming?
At the moment a publishing deal is like a fixed-price menu. But the authors of the future will be savvy about publishing. They’ll look for equitable arrangements and publishers will have to be flexible for each situation. A la carte.
Publishers will also need to be more transparent. Right now the culture is to keep the author in the dark. A business relationship can’t be vague like that.
Ultimately a fair deal will take account of what each side puts in. Who, in a publisher, is equipped to strike a fair deal with the entrepreneurial author or their agent? The editors? They know about nurturing content, being its shepherd and handling production. But they aren’t skilled in converting this into workable contract terms and profit shares. And why should they be? That’s like expecting your plumber to be able to fix your computer. The other option is the contracts department. But they’re in a legal ivory tower, away from authors and the realities of book production or selling. It’s as if we need a new kind of job in publishers – a professional who can grapple with all of this.
UPDATE: To be fair, many editors do recognise the need for change. But they don’t necessarily have the skills, systems or company culture to reinvent their relationships with authors. They’ve usually got enough to do keeping up with their publishing schedule – having managed an editorial department I know the realities of getting books out, and how diktats often come from lofty management levels that are impossible to fulfil while making the daily deadlines. So this kind of change is going to take time.
One thing’s for sure. The current standard publishing deal isn’t going to cut it.
Thanks for the dream team pic Permanently Scatterbrained
Let’s discuss this brave new world. Do you self-publish? If a publisher came calling, what would you appreciate help with? What do you want to handle yourself? What do you think would make you attractive to a publisher in return for their help?
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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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