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Archive for category self-publishing
Recently there has been much ado about gender inequality in publishing. In The Bookseller, Cathy Rentzenbrink wrote about two literary prizes whose shortlists were dominated by male authors, and argued this as the tip of a deeper rooted problem, which then became the subject of Porter Anderson’s Futurechat on Twitter.
Ms Rentzenbrink particularly drew attention to the fact that the Goldsmith competition aimed to celebrate fiction that is, in the words of its press release, ‘audacious and original’. As she said:
‘So that’s 18 books singled out for praise in the space of a week only one of which was written by a woman. Why is this? Are women incapable of writing audacious and original fiction? Not much cop at sharing their experience of the world?’
But something seems to have been missed as everyone joined the uproar. There it was in the Goldsmith prize rules, bold as brass. Self-published novels are not eligible. Check it for yourself.
(I can’t find a list of rules for the Samuel Johnson prize, which Ms Rentzenbrink also cited and accounts for her total of 18. Update: an enterprising commenter found a cached version. The Johnsons do not exclude self-published books, so no argument there.)
Now, we’d probably all argue that the gender line-up in the final shortlist is most likely a matter of chance, not conspiracy. Ms Rentzenbrink felt it was a symptom of a wider attitude problem.
And I contend that this exclusion of self-published books is another.
Especially from a prize whose goal was to find ‘audacious and original’ fiction. Because they are more likely to find it from indie authors than from the output of traditional publishing.
But the crap, Roz
Now yes, some indie fiction is unripened. Inept. Hobby work. Personal therapy. All possible literary sins can be seen in self-publishing – but self-publishing is also where you find original, finely honed work that should have been on a publisher’s list if market economics allowed. (NB: anyone quoting this line had better include its full context or I will smite them with my hairdresser’s zombie homage to Ulysses.)
Ms Rentzenbrink’s discussion of gender is a call for equality and fair chances, to judge a book and a writer on merit and nothing else. So while the industry beats its breast about the gender thingy, it should also address the exclusion of independently published fiction. Double standards are rather unattractive, aren’t they?
Indeed, like Ms Rentzenbrink, I can show that this prejudice against self-published authors goes further than just a few competitions. Some quarters of the publishing world still dismiss it as vanity press. I’ve written in a recent blogpost about how the Royal Literary Fund dismisses applications from authors who are not ‘commercially published’, as they put it. (You might wonder about their imprecise use of the word ‘commercial’ here. I certainly did.)
I thoroughly support the upholding of standards. Crikey, that’s how we pull ourselves up from our first amateur efforts. But we need to ask how quality should be judged.
A spectrum view
This question will become increasingly significant in coming years. There will be many more authors releasing their books in new ways. ‘Totally self-published’ and ‘totally published’ will simply be opposite ends of a long spectrum. Indeed they already are.
There follows a brief diversion into details that may be familiar if you’ve known me for a while. I shall render it in brackets so that you may skip if you wish.
(Some of us authors are publishing professionals as well as writers. In my case, I ran an editorial department for three years and trained other editorial staff. I teach writers how to bring their novels up to publishable standard, and I’m rigorous about it. Ask any of my editing clients. Ask The Guardian. I am every bit as qualified to make good publishing decisions as, well, a traditional publisher. I treat my own work just as ruthlessly, as a matter of pride in my art and respect to the reader. Rant ends.)
In which I invent two new buzzwords
In the coming years, increasing numbers of significant books will be produced with these new models. This is an age of options.
So far, most of the discussions about successful self-publishers have concentrated on business. But fiction is an art too. Just as film has writer-directors and auteurs, and music has singer-songwriter-producers, we will see the self-published author who is characterised by a strong creative vision and artistic proficiency. Just as we’ve seen the rise of the author-entrepreneur, we will also see the rise of the author-director, the author-auteur.
Phew, I didn’t know I was going to write that. I might have invented a new monster.
Back to the Goldsmiths competition exclusion. We should be as committed to seriously tackling this issue, this blindspot, as we are to scrutinising gender prejudice. It has just as much potential to unfairly disadvantage authors whose work deserves critical recognition.
So what are the objections to including indie authors ?
There seems to be only one, really.
But the crap, Roz
Yes, there are so very many books.
Clearly there has to be a sensible method of triage for competitions, professional bodies etc. But here’s a suggestion. Judges and gatekeepers, you don’t have to read all of every book. You do as any sensible reader would – read the opening. Do the page 99 test. If that’s not good enough, no reader would continue. Throw it out. Pick up the next book. Then read the real contenders properly.
There’s nothing to be afraid of.
Or is there? What might I have missed? Let’s discuss.
author-auteur, author-director, authorpreneur, Cathy Rentzenbrink, equality in publishing, Futurebook, Futurechat, Goldsmith prize, Open Up to Indies, Porter Anderson, Samuel Johnson prize, self-publishing, The Bookseller, UK literary prizes
Long ago, I ran an editorial department in a small publisher, so I thought it might help to give some guidelines.
Here’s my post about front matter, which explains all the fiddly stuff like title pages, half-titles, contents pages and so on. Today, I’ll concentrate on those editorial people you’d like to thank. And indeed, whether they would be better not mentioned at all.
If the book is a collection of curated material, eg short stories, poems or essays, it’s usual to credit the person who put it all together. Put it on the main title page, the cover and the spine – eg ‘edited by Roz Morris’. That would also go in the ‘main contributor’ section of the book’s official listing on KDP, Smashwords, CreateSpace, Ingram etc.
Non-fiction with many contributors
The rules are the same as for a collection. When I was a publisher, I had a number of titles that I conceptualised, outlined, found contributors for, edited and shaped. Individual authors were credited in their own sections, but I was the guiding force behind the work. So my name went on the cover, spine and title page.
Does it seem like I’m labouring this? That’s because I want to make the point about who is in charge of the final book.
Let’s talk about editors of novels, memoirs and single-author non-fiction.
Novels, memoirs and non-fiction – credit the editor or not?
Some indies put the editor in the front credits along with the author, or as an additional contributor. Do not do this.
If you’d like to mention them as a significant influence or supporter, a better place is the dedication or acknowledgements, according to how strongly you feel about them, obviously. The same goes for your proof reader or copy editor. But … and it’s a very big but.
Like this: BUT.
Please ask them first. Many editors have a policy that they do not want to be mentioned.
Now that might seem harsh. And they would surely find the exposure helpful, wouldn’t they? A mention in the credits would surely do them nothing but good.
Well no; it’s not as simple as that. The developmental editor, copy editor and proof reader are merely giving guidance. The final text of the book is down to you, the author.
This especially holds for developmental editors, who might give extensive notes for reworking. Some books leave my desk needing considerable revising, and I might not see them again. That’s fine; that’s my role. But I shouldn’t be credited in the published book if I didn’t see the final version. I’ve had editing clients who have added reams of extra material they didn’t let me see – and then wanted to publish the book with my credit. This is an extreme example, and most writers wouldn’t do that, but that credit might harm my reputation.
Equally, I see a lot of authors whose editors are very happy to be namechecked, and their supportive partnership warms everyone’s creative cockles. The bottom line is this: please ask.
Do we need a group hug? Here’s a post about why your editor admires you.
If the editor is happy to be named, where’s the best place?
The dedication before the book begins
Remember the reader has limited interest in your cheerleaders at this stage. Also remember, they have a blipvert attention span for your sample, and you should be getting them ensnared in the guts of your book.
If you want to explain at greater length what everyone did, the place for that is in ….
A longer acknowledgements section at the back
As the reader takes leave of you and your words, they’ll be happy to let you list your influences and influential people.
And check how your various folks would like to be described. A developmental editor from the book’s formative years might be described as ‘guidance and support’. Someone who had more direct control over the final book might be named by role – for instance your copy editor and proof reader.
But don’t feel obliged to mention us. It’s not compulsory. The bulk of the work, by far, was yours. Not ours.
Thoughts, theories? Have you named editors in your published books, and how did you handle it? Editors, copy editors, proof readers – what do you think?
‘There’s never been a better time to be a writer.’ I’ve seen this mantra frequently over the past few years in blogposts, conference reports and news items. And I don’t disagree there’s been a lot to celebrate.
But from what I see right now, this time is also tougher for authors than ever.
Indie authors feel it in their book sales. Hands up who is in a forum where the chief discussion is ‘what can I do about my dwindling sales?’ ‘Anybody else had a dismal month?’ ‘Should I drop my book’s price, put it on Kindle Unlimited, write something more popular, send out more emails, spend $$$ on a marketing course?’
The traditionally published authors I know are faring little better, with shrinking advances, ill-supported launches – even the authors who have awards to prove their worth.
Last week I was having an email conversation with a wise author friend. As we confided our worries and frustrations, I felt we were describing the state of the author 2015, and were probably echoing many other conversations going on behind closed doors.
So I thought I would open those doors. Come in. Come and see how authors are thinking about their careers right now. And see why, in spite of the rotten state of the book market, we keep the faith and stay true to our standards.
I have permission to quote my friend’s words, but he wanted to remain anonymous. So we’ll call him Oscar, in honour of the internet tradition of attributing everything to Mr Wilde.
Oscar: I’m looking forward to Ever Rest.
RM: It will be a while before Ever Rest is fit to show. When it is, I’m going to look for a new agent. It’s so desperately hard to get fiction noticed, especially if you write odd-lit like me. I have friends in mainstream publishing who give me furious pep-talks about how I’m on a hiding to nothing by publishing literary fiction as an indie. Even my own husband says it. And they’re right. I need a way to prove myself to the serious reviewers and opinion formers.
An example. I recently applied to the Royal Literary Fund for a grant. I’d been assured by another sponsored author that they would consider a writer who had published two literary novels, but when I checked their rules I found they excluded self-publishing. Nevertheless, I wrote explaining my background, teaching credentials, why I’m indie (more about that here ). Their reply was ‘you haven’t commercially published sufficient work’ and they refused any further discussions. This is the hole we find ourselves in, trying to get indie-published work recognised.
Oscar: You’re a smart lady to be looking for an agent. I’m beginning to think the biggest part of the indie movement is to smack the big machines into better behaviour. They have the money and power to do what we cannot do.
The tides will turn. I watched it happen in photography. Just please keep doing what you’re doing. It’s needed. Without people like you, we could lose literary writing in this mess. And it is a mess. I can’t believe some of the things I’m reading from authors who make big money.
RM: Speaking of which, you’ve no idea how many people who say to me ‘can’t you just toss off a series to get some bestsellers’?
Oscar: I tossed off a series – and then I pulled the books. I felt dirty.
I have an agent friend. In 2014 he was flying high, making sales, getting high-profile assignments, negotiating foreign rights. He said all of that is over now. It’s hard to sell *anything* to a trad house because we’ve lost our attention span for long form. Everybody is on Twitter. No one has the time to read. He has always been a force of nature, enormously talented, confident that he can take on the world. This throws me for a loop.
I check in on Kindleboards now and again. Yesterday I saw an author who started out making $13,000 a MONTH on four poorly written books say she’s now ghosting for other indies to make ends meet. Another author posted about the publication of his new ‘novel’, which is 117 pages long with lots of white space (probably 15K words) and selling for $2.99. Everyone was fawning over him and his swift production.
I saw Joanna Penn remark that we aren’t in competition with each other, but with so many other forms of entertainment. People do *not* sit still for long, unless they’re binging on Netflix for hours on end. How are we to compete with that?
Some authors are doing exceptionally well. They crank out a book a month and direct it at a very young audience that does not yet know the value of a dollar. I know scads of young adults, and they read copious amounts of books, but they’ve got to be free. I nearly blow an artery when I hear them say how poorly written the books are, how many grammar and style errors there are – but they don’t care.
As for craft and quality, in one forum I saw people asking others to stop putting out junk. The remarks degraded, as they always do, to people defending the ‘raw’ writing their fans demanded. Many admitted to using no editors at all, claiming it took the edge off.
RM: [Unprintable. Gentle reader, don’t ask.]
Oscar: My agent said there are precious few of us left with the attention span and appreciation of finely crafted work, and we need to hold on to each other dearly. That’s all fine and well, but how much longer can we continue buying each other’s books?
But it’s not all doom. My partner and I are deeply involved with theatre and have watched that die a slow death, and even Masterpiece Theater removed ‘Theater’ from its name so people won’t get turned off by it. We hang on because it is an eternal artform waiting to be re-born. I believe the same is true for longform, literary novels. It’s a cycle, and the cycles are moving faster.
RM: Right. Who would have thought, five years ago, that Hilary Mantel would be a household name? Listen, while publishing sorts itself out, we write. Have a look at this interview where the musician Sarah Kirkland Snider is talking to Porter Anderson about the sense of connection and completeness we have when we create good work. That’s what it’s about.
Oscar: There is a passage from Nevada to Utah called The Virgin River Gorge. It’s at least a thousand feet deep and so beautiful it makes one’s heart stop. It was carved by a small body of soft water that moved slowly and peacefully because it was the only thing it knew how to do, the only path it could take. With time, it created the impossible and a majestic beauty and monument to the power of unyielding persistence.
Be the water.
Do you have days like this? How has this year been for you in your writing and publishing career? My door is open.
author standards, friends, Hilary Mantel, literary author, low book sales, mainstream publishing, Netflix, Oscar, publishing, quality in self-publishing, Royal Literary Fund, self-belief as an author, self-publishing, self-publishing literary fiction, The Virgin River Gorge, tough times as an author, writers' forums
You know my bookseller friend Peter Snell, of Barton’s in Leatherhead? (He’s the co-host of our Surrey Hills Radio show So You Want To be A Writer.) Peter is a staunch supporter of indie authors, and he mentioned to me that he’d been talking to an indie writer I know who wanted advice on revamping her novel cover.
Oh you mean Alison Ripley Cubitt, I said. Her science fiction novel?
It’s not science fiction, said Peter. It’s a contemporary eco-thriller.
And therein lay Alison’s biggest problem.
So how did she end up with a cover that sent the wrong message? How was she persuaded to change it – because she’d made that choice for a good reason. And what did she change it to?
I thought this would make a useful case study. Publishers often rebrand covers if they keep a title in print a long time, and I’ve known other indie authors who’ve rejuvenated their books with new covers, aiming to catch the eye of different readers (here’s the post). And as we’re making our own decisions about everything, it’s inevitable that we’ll take some wrong turns – I’ve nearly chosen a disastrously misleading cover myself when I was releasing Lifeform Three. (Here’s the confession. You will howl.)
So thank you, Alison, for agreeing to share your process. (Alison writes with her husband under the name Lambert Nagle @LambertNagle.)
RM: How did the original cover design come about, and why did it seem like the right choice?
ARC: The photograph we used showed the terrible drought in the Australian outback and came from our extensive research. Although I knew it hadn’t been digitally manipulated, to potential customers it looked like the opening shot in a Mad Max film. We were naïve enough to think we could do the design job ourselves.
RM: I’ve found this is a classic indie mistake – to use a picture because it’s significant to the author. The reader doesn’t know your reasons and may get the wrong message.
Also, note the difference in typography between Alison’s covers. Her designer has used colours, contrasting fonts, different sizes, which all add up to a polished result.
RM: What made you decide to change your cover? Was there any feedback that made you consider it?
ARC: As I stood in a room with indie authors in Foyle’s bookshop at an author event earlier this year, I looked at their covers and realised that I’d been far too complacent. Luckily our stand was next to that of the delightful CJ Lyons (@CJLyonswriter). I asked CJ what she thought of the book and her response was, ‘it looks like sci-fi!’ I loved her honesty. With another book on the way, we decided it was time to look at the design.
RM: Peter Snell mentioned he’d given you advice. Tell me more.
Peter Snell is a real champion of indie authors. On my visit to Barton’s bookshop, I was able to compare our current cover with the thrillers on Peter’s shelves. This underscored that our cover wasn’t working.
RM: I’ve had the incredibly useful Peter cover-brainstorming tour. When I was figuring out what to do about Lifeform Three, he took me round the shelves and pulled out titles with similar themes and atmosphere to show me how this could be communicated by the cover. If you don’t have a friendly bookseller to hand, you could research the comparison titles online.
Peter had a further point about the trim size of Alison’s book. She told me she’d chosen 6 x 9 because it was the most economical in price, but …. (here’s Peter):
PS: The trim size was too big for the pagecount so the book looked too thin, which made it look self-published. In a smaller format the spine would be thicker, making it better balanced in terms of look, weight and feel. It would also fit better on bookshop shelves. Also, the design needed to be repeated on the spine so that customers could find it if the spine was the only thing visible.
RM again: Alison, how did you find the new cover designer? How many ideas did you try?
ARC: I liked Eliza Green’s cover for Becoming Human, by Design for Writers. I filled in a detailed design brief, with information about the genre, target market and tone. I told them which book covers from competitors I liked and those that I thought were clichéd. They sent me a design that I loved. They got it right first time.
RM: How much did the new cover cost? And the interior redesign (for the new smaller size)?
ARC: We were given a 10% Alliance of Independent Authors member discount which brought the cost of the cover redesign to under £200. I have allowed a budget of £100 for the reformatting of the interior, So far, we haven’t had to spend that money, as we’ve done much of the work ourselves.
RM: How are you publicising the change to ensure your fans don’t get confused?
ARC: I am stressing to readers that the print version is a relaunch and not a new book so that they don’t inadvertently buy the same book twice. It’s easier with an ebook as a potential purchaser gets a message stating that they have already purchased it. We are kicking off the publicity campaign at a book signing at Barton’s in Leatherhead on July 11th.
RM: On the new cover you have a lot more supporting text – the series tagline, the review stars. This makes it look more ‘dressed’.
ARC: In the original cover, there was no supporting text. That’s because we did it ourselves! I was pleased that we were able to fit both the pull quote and the stars from one of our reviews on the cover. The series tagline was important as it tells readers that Stephen Connor is a character they’re going to see again in the next book.
RM: It’s a challenge to get a lot of elements onto a cover and make them look good. If you don’t know about typography, you can end up with an unholy mess. But notice how Design For Writers makes it all work.
ARC: We lengthened the synopsis on the back cover too.
RM: Many indie authors don’t pay enough attention to the look of the back cover. But it’s a chance to hook readers with an intriguing teaser, and quotes from reviews. Don’t waste this space.
RM: What about badges? The indie world is bristling with awards and rosettes. Alison mentioned to me that she had a Brag medallion and an Awesome Indies seal, but they’re not on the front cover. Alison?
ARC: We’re thrilled to have the badges but we didn’t include them on the cover as readers might miss some of the lovely design details.
RM: I’m in agreement here. I’m very grateful for my various awards, but they clash with my cover designs. But if you’d like to inc lude an endorsement, a good solution is to write it as a line of text.
To return to the start, Peter and I recorded an episode where we toured the bookshop, discussing covers and why they worked. Cover art on the radio? We are fearless. Listen to it here (slide the cursor onwards a little – the file includes the songs that were playing before our slot).
RM: I’ll leave the last word to Alison:
ARC: I would love to get feedback from writers who have had new covers made and to find out how it worked for them.
RM: The floor is yours – discuss!
Alison Ripley Cubitt, authorship, back cover copy, back covers, Barton's Bookshop, bookshops, CJ Lyons, cover design mistakes, cover design tips, covers, Designs for Writers, how to design a book cover, indie authors, Peter Snell, self-publishing, what size should your book be, wrong book cover
The band is about to split. Our magnificent seven will soon scatter. The box set containing our seven novels will evaporate at the stroke of midnight BST on Saturday 23 May.
We might even resume our normal colours.
Here’s a post that explains the box set experiment. Here’s one where we were asked just what kind of political statement we thought we were making. And, in case you feel like tackling a similar venture, here’s one where we explain lessons learned.
And here’s what it’s all about:
And here’s a pretty thingy to watch
So, for the final time, you can get the box set on all ebook platforms here.
And in the meantime, I’m taking a blogging break this weekend, but I’ll be back with The Undercover Soundtrack as usual. See you there.
An Unchoreographed Life, bargain box set, Blue Mercy, Carol Cooper, contemporary fiction, Crazy For Trying, female writers, fiction, Jane Davis, Jessica Bell, Joni Rodgers, Kathleen Jones, My Memories of a Future Life, One Night at the Jacaranda, Orna Ross, Outside the Box: Women Writing Women, Roz Morris, sale ends, strong female characters, strong women, the box set, The Centauress, White Lady, Women Writers
Indie authors: are you making these mistakes with your print books? How to look professional on the page
This Friday, around 50 indie authors (including yours truly) will gather in Foyles bookshop in London’s Charing Cross Road to showcase their books as part of the Indie Author Fringe Festival. We’ll see some swish productions from experienced selfpublishers – but not all indie paperbacks look quite so slick.
Peter Snell, my bookseller friend and co-host of So You Want To Be A Writer at Surrey Hills Radio, is a staunch supporter of indie authors – but he often shows me paperbacks with rookie mistakes that scream ‘amateur’. So here’s our checklist of goofs and gaffes – and how to make sure your book passes muster.
Some indie books launch straight into the text, which looks rather underdressed. Why?
Look at the opening pages of any print book and you’ll see the following:
- a half-title page – this shows the title on its own, or the title and author name in the text font, or a brief (one-paragraph) introduction to the author and the book
- a copyright page
- a full title, maybe echoing the cover typography, with author name and the publisher imprint
a page that lists other works by the author
- contents page
- start of text
You might also have a dedication page before the text starts or a foreword (which is an introduction not written by the author).
On the other hand, some indie books dither around too much before the text, with pages of acknowledgements and biographical material.
The reader wants to get on with the book. So front matter should be concise and useful – eg contents pages, of which more in a minute. Contents pages go very wrong.
Right or left?
Certain pages have to be on the right, others on the left. Here’s that order again:
- half-title – right
- copyright page – left
- full title – right
- other works, dedication etc – left
- contents – right
- start of text – right
Yes, that’s two rights. If necessary, insert a blank page so that the text starts on the right. After chapter 1, though, you can start new chapters on a left. You’d have to go through mad contortions otherwise. But if your book is divided into sections (like My Memories of a Future Life) you want those to start on a right.
You don’t usually need a contents page in a novel. Does the reader need to know that chapter 11 starts on page 49? I draw your attention to Exhibit A at the start of this post.
If your chapters have titles of their own, you might list them to wet the reader’s appetite. But it’s not compulsory, and novels, memoir and narrative non-fiction don’t usually need contents pages.
Instructional and reference non-fiction, on the other hand, definitely needs a list of contents. Here’s an example of one that is helpful to the reader and also a good appetiser for the book. (It’s Reports from Coastal Stations by Geoff Saunders.)
Who’s the author?
Some indie books fail to give any information about the author. Readers like this context – who the author is, where they live, how many books they’ve written. If the book is set in a special world (eg the circus), this is where you reveal you were the offspring of trapeze artists before you ran away to study accountancy. If you’re writing non-fiction, readers need to know why you have the temerity to bother them with your opinions.
You might put this in the front matter, if you can keep it brief. Or it might be on the back cover. But don’t miss it out.
Speaking of back covers…
Back covers need to look properly furnished. Make sure you have
- a punchy summary
- an enticing quote, if possible
- author details, and preferably a picture
Other sundry howlers that stop your book being taken seriously:
- white paper stock for fiction, memoir or narrative non-fiction (better to choose the cream-coloured paper)
- squashed typesetting and tiny print – authors do this to reduce the pagecount and save costs, but it makes the book a chore to read (there’s more here on formatting your book for print)
- narrow margins, either around the edges or in the gutters (the central margin). Again these decrease readability, and if the gutter is too narrow, you have to break the spine to read the book.
- amateurish or unnecessary artwork. Tables and charts might be necessary in non-fiction, but probably aren’t in adult fiction. Maps and family trees might be helpful for certain genres of fiction, and facsimiles of handwritten notes or other ephemera might funk up a YA novel. But you might not need your aunt’s watercolours, unless a lot of your straight-talking friends agree they add to the book’s charm. (They usually don’t.) And covers are a whole subject by themselves. (More about covers here.)
- lack of an ISBN – CreateSpace and Lightning Source require an ISBN, and CS will issue you with one if necessary. But Lulu or local printers will let you print without them. Most readers probably wouldn’t notice if your book lacks an ISBN, but it really, really annoys Peter, who is still reeling at the author who had regained the rights to her work and printed 1000 copies without obtaining an ISBN. (There’s more here about ISBNs.)
- Peter also grumbles about books that are in a big or unusual format that won’t fit on his shelves. And cut-outs or holes in the jackets, because they catch on other books and get torn. (They probably also cost you more.) He does, however, approve of French flaps, which make a book more solid, though they’re not standard issue and most people won’t mind if you don’t have them.
So, to sum up. The well-dressed print book:
- has a complete set of front matter that is concise and helpful
- follows the conventions of right and left
- has a contents page only if necessary
- gives information about the author
- has an informative (and enticing) back cover
- doesn’t cram the page with type
Have I missed anything out? Or do you have any questions? Head for the comments!
If you’re in or around London next Friday, come and say hello at the Indie Author Fair, which is part of the Indie Author Fringe Festival in association with the London Book Fair. Entry is free, though you need to register and print out a ticket. More here. If you’re further flung (and even if you’re not) you can take part in Indie ReCon, from April 15 to April 17 – an online festival of indie movers, shakers, experts, veterans, trailblazers, and the odd person who was surprised to find themselves volunteered. You’ll find seminars, live chats and roundtables and …. oh just click this link. http://indierecon.org/indierecon-events/ To wet your appetite, here’s a video discussion from last year in which a few authorly types talk about how we tame our creative muse.
Barton's Bookshop, Charing Cross Road, CreateSpace, Foyles bookshop, Geoff Saunders, Indie Author Fringe Festival, indie authors, ISBNs, Lightning Source, London, London Book Fair, Lulu, making print books, Peter Snell, Reports from Coastal Stations, Triskele books
If you know me – and some of my friends – on Facebook, you might have seen some coy posts about how we’ll be revealing a big secret project.
Well here it is.
Seven writers of quality indie fiction are releasing an ebook collection called Outside the Box: Women Writing Women.
We’ve each of us proved our worth with awards, fellowships, teaching posts and commercial success. We’ve all self-published to keep our hard-earned independence and our artistic identity. Now we are teaming up to create an ebook box set of novels that feature strong, idiosyncratic female protagonists. And it will be available for just a brief period – from February to May 2015.
Power in a group
Now here’s where we can explore the power of the group. We’ve already been interviewed by The Guardian books pages, Books + Publishing (the Australian counterpart of Publisher’s Weekly) and have interest from the arts programmes of BBC Radio 4. If any of us had approached them on our own, we probably wouldn’t have got even a reply. But together?
We hope there’s more to come. Much more. These last few months we’ve been working behind the scenes, making contacts, sending emails. Certainly I’ll have a lot of learning to share about pre-launch campaigns. I am learning loads from these guys. (I should say ‘women’, but you know what I mean.)
So what do we hope to achieve?
To hit some charts, obviously. To reach readers who are hungry for strong literary fiction beyond the bounds of traditional genre tropes.
We also want to prove that fine, original authors are self-publishing as a mark of independence and integrity, and doing work of value and quality.
You might ask: is that still necessary? Does anyone still consider self-publishing to be ‘vanity’ or second rate? They clearly do, because this is one of the issues we’ve been asked about most frequently. And we have all encountered attitudes in the books world that demonstrate we are regarded as inferior. Try joining a professional body, applying for a grant or entering an award, or requesting a review. (Happily, we are already changing minds. Book bloggers who are wary of self-published books have welcomed us.)
Who are we?
Our coalition is:
Me, obviously (more than 4 million books sold as a ghostwriter, creative writing coach for The Guardian, literary author, editor);
Orna Ross, founder of the Alliance of Independent Authors, named one of the 100 Most Influential People in Publishing by The Bookseller;
Joni Rodgers, author/ghostwriter of multiple NYT bestsellers, short-listed for Barnes & Noble Discover Award;
Kathleen Jones, widely published Royal Literary Fund Fellow and frequent BBC contributor;
Jane Davis, winner of the Daily Mail First Novel Award hailed by The Bookseller as “One to Watch”;
Carol Cooper, physician, medical journalist, and winner of the 2013 BMA Book Award;
Jessica Bell, publishing editor of Vine Leaves Literary Journal and author of the bestselling Writing in a Nutshell series.
You’ll also know them all from The Undercover Soundtrack, except for Jane who doesn’t use music in her creative process. (But maybe we can change that!) Find our ‘who are we’ page here. And yes, you can see we dressed up for the occasion.
The collection is priced at USD$9.99 GBP7.99 – yes, that’s not throwaway pricing, but at roughly £1.15 per book it’s still a bargain. The box set (or e-anthology, if the word ‘box’ raises your hackles) will be available for just 90 days from February 20, though pre-orders have just opened now. Right this minute.
Out and about
We’ve got a host of blog appearances planned. We’ll be sharing plenty of information about the hows and wherefores, the triumphs and pitfalls. We’ll also be talking about our publishing journeys, our inspirations, our methods. And our work – our unconventional characters and their relationships, our themes and topics like body image culture, abortion, prostitution, euthanasia, domestic abuse, same-sex marriage, bereavement, psychological recovery and rogue healers.
If you have a blog and your readership would be interested in us, we’d love to be mentioned – or interviewed if that’s what you normally do. If you want to tweet about it and like lists of pre-prepared tweets, find them here. And if you post a review, fill in the form on this link and we’ll send you a digital swag bag that includes a free book plus lovely links, delicious downloads and some playful surprises.
If nothing else, we hope to bust some barriers in 2015. We want to prove that indie publishing is a positive choice for writers of quality, to show that writers can make good publishing decisions and lead the creative process. And if you’re happy with traditional publishing, we hope to add more power to your arm, by demonstrating that authors should be included in business and promotion decisions, treated as partners and offered fair deals.
It’s going to be exciting. Check us out at www.womenwritewomen.com.
7 unforgettable books by award-winning #WomenInLiterature. Only $9.99! Avail. Only 90 days! http://goo.gl/D1fyqW #WomenWritingWomen
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Last year I wrote a post about whether I’d advise an author to publish or selfpublish. A year on, the landscape for authors is remarkably different – or perhaps not remarkable if you’ve been waiting for a bubble to burst.
Indie authors have seen sales plummet because of the sheer numbers of books available, and subscription schemes such as Kindle Unlimited have created a breed of readers who won’t shop outside a limited free list.
Might this mean it’s better to be traditionally published?
Not from what I’ve seen. My friends with trad deals aren’t having a good time either. Leaving aside royalties and advances (which seem to offer little financial reward for all the hard work writing), their books aren’t getting a decent chance for a long-term future.
A friend whose first novel won a major award in 2012 has just watched his fourth novel launch with no more fanfare than a tiny paragraph in a Sunday paper. His only other support was a training day on a social media course. And don’t even ask about rights grabs – where authors might wait years to reclaim a book to publish it themselves.
Tough times, my friends. So savvy writers will be looking for smarter ways to publish.
Since my last post about this we’ve seen a growing trend for indies to work in collaboration, teaming up with similar authors to release box-sets of ebooks, finding partners to exploit other rights such as translations or audio (either via ACX or other means – here are my posts on my own collaboration with my voice actor Sandy Spangler). Collaborators might be paid up front or in royalty splits. Further back, indies have collaborated by teaming up to create products (like my course with Joanna Penn, now unfortunately nuked by EU VAT rules) or forming long-term collectives (Triskele Books, itself a collective, has been running a series on various well-established collectives ). Joanna Penn has a mighty post about joint ventures with other creatives.
And that’s just the start. I think the authors of 2015 will be watching out for advantageous ways to partner up and we haven’t seen the half of them yet.
Indies who collaborate get
• shared marketing muscle, to connect with more readers
• shared expertise (editorial feedback, blurb and press release writing)
• shared contacts (editors, proof readers, designers)
• a shoulder to cry on, behind the scenes – and tough love when necessary too.
Does it sound familiar? Indie author collaborations are attempting to create the best of what a traditional publisher does. And this means we should…
View traditional publishing deals as collaborations
And so this means the smartest way to suss out deals from traditional publishers is to consider them as collaborations. What will they do for you that you could not do yourself? What are they asking from you in return? Is it reasonable?
No one I know writes a book to sacrifice it to a bad deal (see my remark about rights grabbing above). On the other hand, no one wants to turn down an opportunity that would be good, as far as can reasonably be forecast in a world of fickle readers and luck.
So this is what I’d say to the 2015 writer who’s asking my advice on whether to selfpublish or query traditional publishers.
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 advance (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.
Some (not all) are easy to source yourself or make good decisions about. Some can’t even be priced, like the publisher’s reputation – but see my remark above about the award-winning writer with his latest launch. Some of that value might be emotional – the confidence that everything has been done properly. This may not be as guaranteed as you think. There are traditionally published writers who sell enough to get meticulous attention from publishers, and others who get a tired, overworked editor who simply doesn’t have time to do the job as well as they’d like.
The more you know about selfpublishing, the more you can assess a publisher’s value as a partner. 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.
2 Be aware of the limits of traditional print and distribution
Distribution of print books is an area where traditional publishers have a clear advantage – (however, the Alliance of Independent Authors is working on a print sales project for indies ). Books in a publisher’s catalogue get promoted by a sales team. You get the heft of their mighty reputation! Result!
But let’s have a reality check. Go into Waterstones or another large book emporium. Look along the shelves where the books are spine-outwards. How many are there? Which ones catch your eye? Probably none of them. They’re the store’s wallpaper. You’re already cover-drunk by the time you’ve passed the books on the tables or in the window or in special display boxes.
A book in a store needs more than a meek slot in the alphabetically-ordered shelves to be discovered by a casual browser, no matter how beautiful its title or cover. So even if your book is going into big stores, it’s unlikely to be found unless it gets special prominence – both in the store and in the wider world. For that, the publisher has to spend money. Independent bookstores are a different matter as the selection is smaller and more personalised, but you still have to hope your book gets emphasised by the sales reps or the store will never hear about it.
3 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 selfpublish their backlist. 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, where an author who is experienced in production keeps control of some stages of the editorial process. I like this model very much – it seems a good way to use everyone’s strengths.
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. Take your time. Do it properly. You’ve got a lot to learn – about writing to a publishable standard and about publishing itself. The world will wait – but it won’t forget if you mess it up. See my post here about leaving enough time to use editorial feedback.
The selfpublishing world is maturing. Suddenly I notice there are a lot of us who have been in this game a few years now, building solid reputations and devoted audiences. I think 2015 will be the year of the exciting collaboration – with other authors, with translators, with artistes from other media (such as voice actors). Perhaps with editors too.
We’ll choose what’s best for each book. We’ll also get more expert at putting a realistic value on contributions, including those of traditional players in publishing, both imprints and agents, and with luck this will lead to deals that are fair and fruitful.
Writing may be solitary. Publishing – and selfpublishing – doesn’t have to be.
Thanks for the dancer pic Lisa Campbell
The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
Have you collaborated on selfpublishing projects – or struck an unorthodox deal with a publisher? Are there any success stories or cautionary tales you’d like to share? How do you feel about the prospects of the solo selfpublisher for 2015? Optimistic? Pessimistic? How do you feel about traditional publishing? Let’s discuss!
AFTERWORD Since I first published this post, Peter Snell and I recorded an edition of the radio show in which we interviewed two founders of an authors’ collective, Triskele Books. They gave us the lowdown on how they formed, how the collective works and the pros and cons. Listen by clicking the clever thingy below.
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This week I’m running a series of the best discussion points from my talk at the Writers & Artists selfpublishing event. So far I’ve covered how producing a good book requires an editorial team, how authors need to allow enough time to use their feedback properly and author control. Today, it’s a rather thoughtful question about writing and self-editing in the digital age.
Who are you? Self-editing to self-censorship
I had a very interesting discussion with a lady who had written a book on creativity, and was turning some of it into a blog. She said she found she was editing differently when putting it on line. Where passages from the book contained deeply personal information, she was removing this, feeling it was not suitable for the public world of a blog, though she was happy to have it in the book.
I wonder, has anyone else experienced this? Are you a different writer in the depths of your book? Less self-conscious perhaps? More secure in your relationship with the reader? Is your blog more of your upbeat, ‘party’ persona and your book a buried, contemplative one?
Last week in Thought Catalog. Porter Anderson talked in about the modern phenomenon of writers sharing so much about their daily lives, which has never been possible before. He asked, does this ready familiarity with an author’s life spoil the mystique necessary to let a book do its proper work on the virgin snow of a reader’s mind?
He talks of ‘a certain remove by the artist of his or her daily private life from the stage…’ so that the book can speak for itself.
But after my conversation with the blogging writer, I wonder this: what might we keep back for a book, let ourselves tell only in a story? Surely a person who is committed to writing always holds something in reserve, a true kernel that gets its expression only in communication with the page, that indeed maybe doesn’t exist except in the private vault where the book speaks for us. That’s what makes us writers. Perhaps on our blogs we are comparatively extrovert. We may not mean to censor or conceal; we tailor our copy for a short-order medium. In our books, we inhabit an introverse. Do you?
Thanks to Henry Hyde for the pic of me, and to Sean Mundy on Flickr for the eye.
Anyway, let’s discuss. Does this say something about the different qualities of blogs versus books? Does it suggest what we might be missing if more of our reading time is taken up by ephemeral media such as blogs and newspapers, rather than books? Especially as we increasingly read them all on the one device? And where are you most you? Am I mad?
authors, blogging, books, deepen your story, fiction, having ideas, how to be original, how to write a book, how to write a novel, indie publishing schedule, My Memories of a Future Life, novels, Porter Anderson, publishing, revising, Rewriting, Roz Morris, schedule, self-publishing, Thought Catalog, Writers & Artists, Writers & Artists Yearbook, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, Writing Plots With Drama, Depth & Heart
This week I’m running a series of the best discussion points from my talk at the Writers & Artists selfpublishing event. So far I’ve covered how producing a good book requires an editorial team and how authors need to allow enough time to use their feedback properly. Today, it’s how to cope with criticism.
Editing – an ordeal or not?
Henry Hyde (who took the pic of me!) asked the very good question of how writers respond when they receive a report. He’s the editor of a magazine, and said that contributors are often aghast when their work is red-penned. So what the blazes does a writer make of a 40-page document of major changes (as I described in my previous post)?
Well, I try to be gentle. I also encourage the author to see the report as criticism of the work, not them – although it’s often hard for them to see that. The more writing you do in a professional environment, the thicker your soles become and the more you’re able to see a manuscript as a work for others to help you with, rather than a bundle of your most tender nerve-endings.
It helps to have sensitive criticism, though. In traditional publishing, I’ve had savage editors who seemed to relish their chance to tear an author down – and generous souls who make it clear they are working for a book they already believe in. I hope I’ve learned from them how to be the latter.
The author has control
One author brought up an interesting point about a copy editor who had rewritten her dialogue, converting it unsuitably from period to a modern voice. With hindsight it was clear that the editor was probably working in an area outside her experience and thought all books should be edited the same way – a salutary warning to choose your team carefully. And several authors asked: ‘what if the author disagrees with the editor’?
A good question. It is, of course, entirely up to you what you do with a proof-reader’s tweaks or an editor’s recommendations. You are in control. Burn the report if you like, we’ll never know – but we’d prefer to think we’d been useful. I’m careful to make suggestions rather than must-dos, and to encourage an author to explore what they’re aiming for.
A good editor will also try to ensure they’re in tune with the author before any precious words change hands (let alone precious $$$). (Here’s my post on how a good editor helps you be yourself. I’m not tooting my own trumpet here – for most of you who are reading this, it’s likely I won’t be the right editor. Be highly wary of anyone who says they can developmentally edit absolutely anything.)
Let me reiterate: it’s your book. YOUR book. The editor, copy editor and proof reader make suggestions, not commands. (The same applies in a traditional publishing contract, provided you haven’t assigned moral rights – which isn’t usual.)
Use this power wisely. (And, to return to Messrs Jon Fine and Joe Konrath , don’t publish shit.)
Thanks Toni Holopainen for the pic of the man undergoing a thorough edit
Next (and finally): self-editing to self-censorship
If you’ve worked with editors, how did you feel about their criticisms? If you’ve been through this process several times, have you toughened up? Have you disagreed with an editor’s suggestions, and what came of it? Have you ever paid for an editorial service and concluded it was a waste of time and money? Let’s discuss!
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Ghostwriting 101, why I write and a brief blog hiatus November 12, 2015
- ‘An earworm of the heart’ – The Undercover Soundtrack, Katharine Grant November 11, 2015
- American English, British English, Canadian English… which to use for your book? November 8, 2015
- ‘Tearing open the doors of the heart’ – The Undercover Soundtrack, Michael Golding November 4, 2015
- The gallop draft: 5 smart tips for writing a useful draft at speed November 1, 2015
- ‘A cracked but steely song of survival and beauty’ – The Undercover Soundtrack, Philip Miller October 28, 2015
- Lesson learned from a critique group: ‘why’ is the magic question for storytellers October 25, 2015
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