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Posts Tagged writing business
I’ve just finished writing my first novel. I want to get published but I can’t pay for an editor. What can I do? Edith
Every week I get emails from writers who want help but can’t afford the cost of an editor. And I can see why. Good editors cost a big chunk of money and the job can’t be done cheaply. I don’t think seriously committed writers assume anything otherwise.
But sometimes, the writing world can seem like those schools where rich parents hothouse their kids by hiring personal tutors. If you don’t have the spare dollars, will you be left behind?
Not necessarily. Many of the writers I know never hired editors, yet we earned our spurs somehow. And you can still learn the way we did. It still works.
I probably sound like I’m doing myself out of a job here. Certainly a good editor will zoom in on your individual weaknesses (and strengths), and will improve all the novels you write, not just the one they assess. Also I’ll state that I’ve learned heaps from the agents and editors I’ve worked with. But the bulk of my learning came from elsewhere.
It wasn’t all free, but it was considerably cheaper than hiring an editor.
1 Find a good evening class
For two years I went to a novel-writing course at an adult education college. This was fantastic – an intensive two hours each week in which we’d critique a couple of works in progress, guided by a tutor who was also a literary agent. In case you’re in London, it was Morley College in Waterloo. Almost any well-populated area should have adult education facilities, and you can probably access them online too.
Intensive weekend courses are also useful (in the UK Arvon is well regarded), though the cost is getting on for the price of an editor, but there’s definitely something to be said for a regular dose of writing tuition every week to realign your awareness. Writing minds are trained gradually, so hothousing doesn’t necessarily give you an advantage.
Cost: Evening classes at Morley College about £130 per term
2 Find a critique group
Your evening class might fulfil this function, as mine did. But if it doesn’t, find a critique group or a clan of beta readers you can trust with your WIP. They may not be as expert as tutor-level critics, but can still be very valuable as they will react to your work as real readers.
Make sure you pick people who read your type of book (I hesitate to use the word ‘genre’ after last week’s discussion :) ) and who come together with the intent to help each other improve. You don’t want a mutual stroking society, you want people who’ll stop you making mistakes.
How expert do they have to be? Almost anybody can tell you the places where the book bored them, interested them, confused them, stretched their credibility or kept them up well past their bedtime. If they give you solutions as well, ignore them (diplomatically) unless they have reason to know what they’re doing. You find your solutions from your other experts.
A word of caution: although the participants don’t have to be expert, you need to make sure the group is moderated by someone with nous who can recognise when personality clashes or personal issues are interfering with the group’s criticism.
If you can’t find a group in the corporeal world, there’s nothing to stop you assembling a brief email list of trusted early readers.
Cost: Wine, cake and other standard bribes
3 Read craft books
For years I mainlined writing craft books. I gobbled up so many I can’t remember all the titles, and I gave loads away to friends, but the ones I still have are by Robert McKee, Jordan Rosenfeld, Stephen King, Dianne Doubtfire , James Wood, David Lodge, Bob Shaw, Syd Field and Blake Snyder.
And of course, I’m now adding to the writers’ reading burden with tomes of my own, distilled into practical tutorials based on the advice I regularly give when I critique. Hence the characters book.
Cost: the price of a book (or several)
4 Read like a writer
This is what I have always done. Each time I read something that impresses me, I stop and examine how it was done. This means I dither through books, often trapped by a sentence, a description or a wrenching twist. This extreme predisposition to wonder is what made me write in the first place and it’s what inspires and teaches me still.
Cost: what price can you put on pleasure?
The long and the short
It can’t be denied that an editor is a fast track to proficiency. But some of the necessary lessons can’t be learned in a hurry. We need time for unfamiliar concepts to become habit, to make the knowledge our own and to put it to full imaginative use. That isn’t bought with money. It’s earned with time and dedication.
Thanks for the money-burning pic Jurvetson Just for the record, the lady in the pic is not a financially challenged – or blessed – writer, but an entrepreneur making a point about energy wastage. But we’re both talking about money that may not need to be spent :)
Where are you in your writing journey? How did you learn and how are you learning still? Is there anything you’d tell Edith?
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When you’re getting your books into stores, there are certain practicalities to consider. Will the delivery costs eat your profit? Are you on the database they order from? How long will they keep your books for?
I’m still new to this, but there are a few guidelines I’ve established that might help if you’re approaching bookshops to sell your work. And if there’s any advice you’d add, do please jump in! Every shop is different and I’m sure my experience is merely the tiniest visible part of a very large berg. Here are my tips at the Alliance of Independent Authors…
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So why did I change?
First of all, I wanted to funk it up. Give it a chance to pop. The purple cover didn’t scream ‘creativity’ and was rather more staid than the tone of the book. (A point that was echoed by a few commenters here and there. Glad we feel the same, guys!)
Also, the original cover wasn’t designed with a series in mind. For books 2, 3 et al I could have varied the background colour and the wording, but the difference would have been practically invisible on a black and white ereader. And see my previous remarks about dullness. Dull, dull, dull.
This tied me in a few creative knots when I designed the characters book. It had to look like it evolved from NYN original, and allow for distinctive variations with further books. And then – something that nobody knew but me – the characters book and its cousins also had to fit retroactively with the updated design.
So… the new NYN cover had to look like the origin book, rather than another book in the series. For a while I fiddled with graphics that would suggest ‘writing’ and ‘drafting’, but decided that might look like another new book. In the end I stuck with typography, to echo the original cover’s use of quotes from the text. This gives it the best chance of being recognised as the original book, but still look like a snazzy reboot.
Big tip for updating a cover on CreateSpace
When you update a cover (or the book’s interior) on CreateSpace, the book becomes unavailable until you approve it, although it’s still available from third-party sellers. It spends 12-24 hours being processed, then they allow you to proof on screen or order a print proof.
Obviously you don’t want your book off sale. so you want this completed swiftly. With a major change like a new cover, you need to see it in print; with colour processes, trimming and so on I think it’s too risky to okay a new cover on a digital proof only. But the fastest you can get a proof to your door is a couple of days, and you’ll pay a big whack for the postage. But if you don’t mind how long the proof takes to arrive (up to six weeks) it will cost only a few dollars.
Your book off sale for six weeks? (Sound of screaming.) Here’s my solution. Make a dummy book.
In my previous post, Catherine Ryan Howard advised you not to make a new edition when updating a book. I agree with her. But this dummy edition will not go on sale. You’ll use it to do the fine tuning, then transfer the files when you know they work.
You need to set it up with a new ISBN – but that doesn’t matter because you can use a free CS one. But you upload the new cover on that and order a copy. While it wends its sweet way to you via China and the International Space Station, the real book sits undisturbed and available. Once you’ve seen physical proof and are happy, you know you can upload the new cover in safety.
So… this means I have a special thingy to give away: the dummy book. I decided to have fun with it. Instead of loading it with the interior of the proper book, I created a notebook (which in my CS dashboard I called the Nail Your Novel Notebook of Surprises). The pages are numbered but blank, so you can scribble your ideas and workings but keep track of them with an index. And the surprise? Every 10 pages or so is a writing tip.
There’s only one, so this is an ultra-limited edition. It won’t be on sale as I can’t imagine anyone wanting to actually buy the thing, but it’s fun to be able to give it away. I’ll also throw in a copy of the original book with its old cover, for you to use or to pass on to a friend.
What do you have to do?
Share this post about my new cover, come back here and let me know you have, and I’ll hold a draw on Monday 8th July. One entry per place shared – so you get multiple goes if you spread the news on Twitter, Facebook, G+ or even the International Space Station. Just remember to note here if you shared on multiple platforms.
Oh, and you can find the new Nail Your Novel, with extra cover va-va-voom, on print and ebook outlets now
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Take a long look at this cover for Nail Your Novel, original flavour. In the next few days, it’s going to have a snazzy new outfit.
Proverbs notwithstanding, covers are perhaps our most potent marketing tool, so I thought I’d talk to various authors who’ve changed theirs with good results. My panel are literary authors Jessica Bell, Melissa Foster and Linda Gillard, chick-lit author Talli Roland, and travel writer and novelist Catherine Ryan Howard
Why did you change the cover of String Bridge?
I changed it twice. The first time was because my publisher closed and I had to put the book back on the market myself. The second, because it didn’t seem to attract attention, so I decided to go for a more commercial look.
How long had you had the old cover? Both for six months each.
Did it boost sales or interest?
The latest new cover did. The difference was phenomenal. The first free KDP promo I did with the second cover resulted in 2000 downloads. The second, with the latest cover, resulted in over 20,000 downloads. The latest cover is obviously more attractive to the mass consumer.
Were there any other results? Yes. More reviews!
Any tips for the changeover? Look at the covers of what’s hot on Amazon in the same genre as your book, and try to replicate the feel.
Why did you change? To rebrand my books. Chasing Amanda sold very well with the previous darker, more mysterious cover, but it occurred to me that while Chasing Amanda is also a novel that tugs at the heart of most parents—-and perhaps it was time to try a cleaner, fresher look, giving readers a visual understanding of that side of the story. It will be interesting to see if the audience changes with the imagery change.
How long had you had the previous cover? My first book (published in 2009) had the original cover for almost three years. My second had the original cover for about a year before it was changed.
Did the change boost sales or interest? It’s always hard to tell what has caused a bump in sales when you do more than one thing at once. When I recovered my books to self-publish, I also put more promotions into play to promote them. Given that, I’d say the combination helped.
Any other results? I believe branding is important and so are professional covers. Traditionally published authors rebrand every few years to breathe new life into old titles.
Any tips for the changeover? I’ve changed all my covers and there is little to no impact on sales during the change. The paperback will go off sale for those few days while it’s being approved. The Kindle book doesn’t miss a single day; it’s live while you change.
Any time a cover is upgraded, try a promotion that was done in the past, then compare the results.
Why did you change the cover of Untying The Knot?
I was about to bring out the paperback so decided to reassess. I wanted to make it reminiscent of House Of Silence, which is my big seller. I’ve always assumed it must be the cover that sells that book, so we went for a dramatic sky and interesting building.
Untying The Knot has had brilliant reviews, but doesn’t sell as well as some of my others. It had a Marmite cover – people loved it or hated it – but most of the feedback was negative, especially from people who’d read the book. They didn’t think it represented the tone or content. Untying The Knot looks at the destructive effects of post-traumatic stress disorder on a marriage, but there are elements of rom-com mixed in with the drama. It was difficult to come up with an image to suggest all that. My original cover was a surreal image of a bride fleeing with a suitcase across a rural landscape but readers thought it suggested chick lit. I realised you need to make sure the cover of a mixed-genre book doesn’t give out a mixed message. That confuses readers and doesn’t work in that crucial thumbnail in ebook stores.
How long had you had the previous cover? A long time. Since August 2011
Effect on sales etc It’s too early to tell, but the feedback on Facebook suggests people think the new cover is more suitable and more appealing.
Why did you change the cover of Backpacked?
Backpacked was my second travel memoir, and as the first (Mousetrapped) had been so successful, I wanted to keep the brand I’d inadvertently created: scrapbook image on the bottom, nice blue sky picture on the top, white band with title etc through the middle. I have a deep-rooted and somewhat worrying need for things to match, so doing it that way satisfied that requirement as well.
But Backpacked didn’t sell as well as I’d hoped, and when I started examining the cover – really examining it – it struck me that this design did nothing for this book (although it had worked for the first). It actually looked dowdy and dull. So I decided to entirely revamp the cover, focusing more on the content of this book instead of how much it did or didn’t match the previous one.
How long had you had the old cover? Almost a year. (I had to look that up and I was actually very surprised it took me that long to change it!)
Did changing the cover boost sales or interest? Absolutely. And it was immediate. Now, Backpacked is probably my best-reviewed book, and I think that’s because it’s reaching the right readers. By changing the cover I caught their attention, and identified the book as something they’d like to read. It’s been out now since 2011 but continues to sell a steady amount each month.
I would say, though, that a cover change does not automatically generate new interest or boost sales. I had a shortlived self-published novel whose cover I changed and although sales were boosted initially, it didn’t make any difference in the long run. A new cover will only work if it’s the cover the book should have had all along. Change alone doesn’t contribute much.
Any tips? Very important: unless it’s a new edition (i.e. you’ve changed the content considerably), do not create a new book. I know that technically, if you change the cover, you should create a new edition but the headache is not worth it. I went through a month-long migraine when I brought out a new edition of Mousetrapped in 2011, and boy did I learn my lesson!
It is so much easier to go to CreateSpace, Amazon KDP etc. and upload a new cover file than it is to make a whole new book with both editions available at the same time, which is very confusing. You might also affect your rankings and reviews. Simply swap the cover files and keep everything else the same.
Why did you change the cover of The Hating Game?
My publisher and I noticed my book was linked on Amazon with others of a different genre (mainly crime), so we suspected the cover wasn’t reaching the right audience. My novel was firmly chick lit, yet wasn’t being sold with other chick lit.
How long had you had the previous cover? We actually had two other covers before the current one. The first we’d had well before the launch of the book, and the second was live for a few weeks.
Result? When we finally hit on the right cover, the novel rocketed into the top 100 on Amazon within a week or so.
Any tips for the changeover? Explain the reasons, to avoid confusion. Although we only changed the ebook cover; by the time the book was in print, we’d found a cover that worked. Make sure the new cover addresses the genre you’re targeting, too.
Paranormal thriller author MARY MADDOX has an interesting tale of how she changed the cover of her novel Talion because she’d originally used a photo she loved – but readers told her (some rather rudely) that it was too abstract.
Do readers get confused?
One of the questions I was most interested in was whether readers become confused. The general consensus was no. The Kindle store warns you if you try to buy a book you’ve already downloaded. And although you can buy paperbacks more than once, no one reported a dreaded disgruntled review for that reason. Jessica Bell says publication dates are clearly labelled, so readers can tell it’s the same book. And Catherine Ryan Howard points out that readers are already used to covers changing in traditional publishing. ‘A book will have one design for the hardback and another for the paperback, and bestseller authors with extensive backlists get cover redesigns regularly. If the title, sub-title and blurb stay the same, how could anyone make such a mistake?’
Cover designer Jane Dixon-Smith has two useful tips to add. ‘If you’re designing a cover for a sequel, make sure it matches in terms of quality and style Second, it’s important to change a cover if it’s an improvement to your image and the assurance of your quality and brand.’
You’ll have to wait a day or two while the new cover of Nail Your Novel worms its way through the works at CreateSpace et al. But don’t go too far because I’ll be back with an unveiling post AND a very special competition…
In the meantime, let’s talk about changing covers. Have you changed any of yours? Are you thinking about it? Are you happy with your covers, and why? Do you have any other questions you’d like to discuss?
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Yes, I would usually have put up an original writing post this weekend, but I seem to have had a lot of posts on other blogs in the last few days. So rather than appearing in your inbox way too many times in one week, I thought I’d take a bit of a rest.
Today I’m back at Writers & Artists. They told me a lot of writers approach them for advice on self-publishing and self-publishing services, but it’s clear they’re not ready and would be better doing more work themselves. They asked me for a piece to help writers hone their novel before they pay for editorial services.
The number one problem I notice is that new writers try to publish a first draft – so this post is a newbie’s guide to revision and an insight into the secret graft behind a good novel. Many of you guys are more advanced than that, but if so, I hope you’ll know someone you can pass it on to. Even if it’s only your long-suffering family and friends, who are wondering why you haven’t ‘finished’ and published! Here it is…
Meanwhile, if you’d like to share how you revise a novel, or add your tips for getting it in perfect shape for publication, share them here!
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Gosh, this is grown-up. After I gently pointed out to Writers & Artists that some self-publishers are as adept in print as in e-publishing, we got chatting. They were interested in my background (running an editorial department, writing, editing, book production and this blog!) and the result is I’m doing a series at Bloomsbury’s Writers & Artists site on fundamentals for good self-publishing.
This first piece is on turning an ebook file into a print edition. It’s an expanded version of a pair of posts I wrote when I released the paperback of My Memories of a Future Life, and hopefully a little more simplified for first-timers. If you want to know more about how to make lovely-looking books, come on over.
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I’ll leave the story to that post, but briefly, I saw an interview on the Writers & Artists Yearbook website, responded to it, and seem to have woken them up to the fact that indie authors are rather more advanced than they hitherto thought.
Even better (and this isn’t in the post) Bloomsbury then asked me to call them. They’d had a rummage through my blogs and wanted me to write for their website and newsletter. (Wow. Big smiles at NYN HQ.)
So W&A – the bible for creatives in the UK – is expanding its coverage of self-publishing as a serious and respectable option. But I detected they’re a tad nervous about it. The editor I spoke to asked if I ‘minded’ writing about self-publishing. That suggests he’s encountering more negative attitudes than positive. No matter. They’re responding to what’s happening in the creative world.
I also have to relish a sense of a circle closing. Years ago, when I was a beginner querying agents and publishers, W&A was my route map for what seemed an audacious and mostly impossible dream. When I wrote the querying section of Nail Your Novel, I recommended using them. Now, thanks to a tweet that alerted me to their post, and a tweet I sent to them, I’ve flipped to the other side and they’re introducing me to their audience. In our online, endlessly connected world, new opportunities might be only a tweet away.
In other news, tomorrow I’m skyping into the Grub Street arts centre in Boston as a guest expert in a seminar on creative book marketing so you’ll get a proper post from me about our discussions. And next Saturday, I’m on a panel at Stoke Newington Literary Festival in north London, talking about multimedia self-publishing. Both those opportunities sprang from relationships made completely on social media. In fact, everything has. Before that, I was an invisible editor and a concealed ghost.
So tell me – what opportunities have come to you from social media? And what tips would you give to help people make the best of it? (Oh, and here’s the Independent Authors Alliance post, in case you’re curious about the W&A Incident… )
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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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Not sure how to market your book? Maybe you already know… guest post at Michael Schein Communications
To my surprise, I find myself guesting today on the blog of marketing and communications consultant Michael Schein. I thought I knew zilch about marketing; certainly not enough to share with those who possess business genes. But Michael contacted me after reading Nail Your Novel and asked if he could pitch me some questions.
Once I got my teeth into them, I realised that storytellers and advertisers run on adjacent rails. The sensitivities we use as novelists could serve us well when we have to intrigue the world about our books or write blurbs and pitches. Although we still have to identify where our readers hang out, writers of fiction are well equipped to sell ourselves and our work. Come and see.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock November 19, 2014
- I name this book… tips for choosing a good title November 16, 2014
- ‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX November 13, 2014
- ‘Spurred by the song’s rhythm, my typing fingers flew’ – The Undercover Soundtrack, Dianne Greenlay November 12, 2014
- A good editor helps you to be yourself November 9, 2014
- ‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks November 5, 2014
- Something wicked this way comes: plot book ready soon November 2, 2014
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