Archive for category self-publishing
A friend has turned into a writer. Unbeknown to me, she’s been chipping away at a novel and her husband just sent this email.
Her novel is more or less finished!!! I may need to pick your brains about marketing! We also think we need to get it professionally proof-read. We tried doing it ourselves with Grammarly, but realise it’s way more complex than it seems …’
Ah bless. If you’re well seasoned in the author world, you’ll already be counting the many erroneous assumptions. Carts before horses. Running before walking.
But we all have to start somewhere. And even if you’re already wiser than my beginner friend here, you might know a writer who’s effervescing in a similar state of enthusiastic, ecstatic, multi-plinged euphoria. High on all those well-earned Es, they can’t possibly know what’s coming next.
So this post is a gentle reality check, a bit of tough love, a bit of hand-holding and a jolly, genuine thump between the shoulder blades to say: well done, welcome to the club.
Marketing? Proof reading?
Let me explain about those production processes.
This post is angled for self-publishers, but it explains all the work that a publisher typically does on a book. Including proofreading etc
And here’s another post about production processes
NB Do NOT rely on Grammarly! To proof-read a book, you need a knowledgeable human. Also, you need to develop good grammar skills etc yourself. This may seem unsympathetic, but if you’re not sensitive to grammar, spelling and language use, how will you learn the linguistic and lexical control to write well? Seriously, would you expect a person who is tone deaf to play a musical instrument to a listenable standard? Here’s where I rant about that
But even with all that natural prowess, you’ll still need copy editors and proof readers because they read in a highly specialised way. They look for the mistakes you never dreamed were possible.
Did you say ‘self-publish’?
Are you going to self-publish or try for a traditional deal? Is this the first time you’ve ever been asked to think about it? Here’s a post about self-publishing vs traditional publishing – the similarities and the differences. They’re no longer mutually exclusive either – there are many options in between. And as you might expect, you’ll need to spot the rip-off merchants who are eager for your £££s, so I’ve pointed to some tell-tale signs.
You’ve heard of crowdfunding? Here’s how my friend Victoria Dougherty is using crowdfunding to support a creative departure
Do people still send manuscripts off to publishers and literary agents? Yes they do. And you can. But before you send your manuscript anywhere, read on.
Before you can walk….
Now you know how a book is made. But first, is the book really ready? Have you rewritten it until your fingers are in tatters?
Here’s a post about beginning with a muddle and rewriting into glory (with a dose of disco)
When you decide to work with an editor (and I recommend you do at some point), here’s what they can do for you
How much should you budget for an editor? And how should you choose one?
If those costs make you boggle, here are some low-cost ways to boost your writing skills
Will your editor trample all over your style? No, a good editor helps you to be yourself
Have you looked for feedback and ended up in a pickle? Here’s how to find your way again.
Will your editor laugh at your naïve efforts? Au contraire. Here’s why they admire you and appreciate what you’ve already achieved.
You asked about marketing. It’s not really my sphere of expertise, and each type of book and writer will require different approaches. But yes, you do have to make time for it. Here’s a post about finding a good balance
If you’re going to get on Twitter, for heaven’s sake use your author name. Here’s why
Wait, I’m overwhelmed! There are so many books already out there….
Yes there are. But the world still needs new voices. There’s never been a person like you, with your experiences, your perspective, your curiosities. You might have the unique outlook and insight that a reader needs to hear.
PS If you’re curious about what I’m working on at the moment, here’s the latest edition of my newsletter
PPS You should start a newsletter.
A report of the Frankfurt Book Fair in The Hot Sheet caught my eye this week, and I have to admit it’s got me a trifle narked. See what you think.
‘The acceptance and progress of self-publishing (or, rather, the sluggish acceptance and progress) in most countries (the US, the UK, and Germany are the exceptions) was probably best represented by Guillaume Dervieux, vice president and CEO of France’s Albin Michel publishing house. He said that self-publishing is all but anathema to “what we are doing” in the trade. In self-publishing, he said, every manuscript “is accepted and each title is invested with the minimum amount of means. We do exactly the contrary. We reject a lot of manuscripts, and we concentrate all our means and effort only on the ones we choose with passion.” ‘
Oof. (Before we go any further, let me state that I find The Hot Sheet to be a useful, worthwhile round-up of news for authors. I’ve found several important opportunities because of it. They are reporting attitudes they have observed, not their own attitude to self-publishing. That’s why I included the paragraph in full.)
Back to Mr Dervieux. Here’s the point that worried me. In self-publishing, every manuscript “is accepted and each title is invested with the minimum amount of means”.
Here are some sows, with ears.
There are many authors (indie and otherwise) who’ve sought my editorial input on a book and been sent back to the drawing board – kindly, with constructive directions. That’s what they hire me for. Some of them come back with a greatly improved script.
Anyone who’s hung around this blog will know that I frequently post about the long process of getting a manuscript right. The time taken to edit for nuance. You’ve also heard me plead for writers not to rush because we can set our own deadlines, and that is our great artistic advantage, if we want it. A book will be out for ever, and although we can nip into the back channels and edit the snarlies, we can’t edit a reader’s memory of a bad experience.
But here’s something I’ve never talked about – the care that then goes into the editorial and production process – which I think is one of Mr Dervieux’s contentions.
So, by way of example, let me take you through the editorial process for my latest book, Not Quite Lost.
For reference, Not Quite Lost is about 38,000 words.
- Rewriting/developmental editing December 2016 to April 2017
- First beta reader April 2017
- More drafting, second beta reading, start of June 2017
- More drafting, third reading, end of June 2017
- Final drafting
- Copy editing, proofing and formatting to August 2017
In parallel with this, the cover was being developed. Work on that began in January 2017. Three full designs were considered and discussed with close advisers. The final design emerged in July 2017.
And no publishing job has been done properly unless there is marketing and publicity. Preliminary work on that began in May, with 3 weeks of campaigning in August, and work is still ongoing as leads arise.
To recap, the production calendar looked like this:
- Conceptual and developmental editing from first draft to final manuscript 7 months
- Proofing & formatting 2 months
- Cover development 7 months
- Marketing/publicity 4 weeks concentrated work, then as needed
Of course, these months weren’t exclusively spent on the one task. I was doing other work in between, just as a traditional publisher would. And the breaks allowed time for new ideas to present, minds to be refreshed and new possibilities to be considered.
This is not the schedule of a book that was ‘invested with the minimum amount’, either financially or in terms of time. Indeed, I’ll wager my book had more care than it would get in a traditional publishing house. How do I know this? Because I’ve worked for them as well. Here’s a post that discusses some of the quality compromises I’ve seen in traditional publishers.
I’m heartened that Mr Dervieux chooses his projects carefully and invests each one with utmost effort. I would hope for nothing less. I hope it’s clear that I, a self-publisher, take just as much care.
Here are those pigs again.
What of Mr Dervieux’s first point, that plenty of self-publishers put sows’ ears in the sewing machine? Bien. Before I decided Not Quite Lost was fit to publish, I tried to find people to talk me out of it. Like a publisher with their editorial board. The story of that is here. And were they right to let me go ahead? The reviews can do the talking.
I realise this post has become a little ratty.
Apols, people, but Mr Dervieux’s generalisation is wildly unfair. It’s as bad as dismissing all of traditional publishing as ghostwritten celeb books or Dan Brown trudge with copycat covers and slapdash editing. Yes, of course, everyone’s mileage varies, and anyone and everyone can self-publish. Yes, self-publishing is done by amateurs. It’s also done by responsible, professional authors who nurture a book properly and take care in its production to create a book that’s worth a reader’s time.
Some of us would say that’s what it’s all about.
Thanks for the ratty, Mrs Airwolfhound on Flickr
Oh my heavens, it’s publication day. Not Quite Lost: Travels Without A Sense of Direction is no longer a tease in a tweet or a blogpost. It’s a real thing. A paperback book. A hunk of Kindle estate, or Kobo, or whatever other ebook format floats your boat. (Though there are no boats in the travels … plenty of buses, however.)
And my writer/designer friend Henry Hyde has invited me to his blog to chat about it. We cover technical stuff like developing a writing style, influences like Bill Bryson and Gavin Maxwell, and some of the main thematic stops such as the romance of old houses, impostor syndrome and 1970s Doctor Who. Do hop aboard. Oh, and you can find the book here.
Bill Bryson, Lewis Carroll logic and cryonics – interview about Not Quite Lost at Andrea Darby’s blog
I’m thrilled to be at Andrea Darby’s blog today, talking about Not Quite Lost. You might recognise her name because she was a recent guest on The Undercover Soundtrack with her novel The Husband Who Refused to Die. Andrea and I discovered we had a certain chilly, chilling interest in common – cryonics, the daring science of preserving the dead in the hope that they can be revived when science is more advanced. Andrea spent a day with a cryonics group and wove it into the plot of her novel. I interviewed the same group several years before and wrote it in my diary, and eventually it became one of the encounters in my travel doodlings.
We also discuss how the book came about (with a sideways nod to Mr Carroll), the literary figures who showed me the way (sideways nod to Mr Bryson and others). And why writing – of diaries, novels or anything else – becomes a way of life even when publishing can be troublesome. Do hop over.