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Posts Tagged Alliance of Independent Authors
When I was a kid, I desperately wanted an artistic life. But I lived in a small village in the north of England, where the arts weren’t something you did. Moreover, I didn’t realise that was what I truly wanted, but somehow, I was aiming for it anyway. Complicated.
That journey, from arty misfit to working author, is what I’m talking about on this interview for the Alliance of Independent Authors. The host, Howard Lovy, is fascinated by authors’ origin stories – how we start, what makes us tick, how we discover who we should be, how we find our groove.
We talk about lucky meetings that shaped my future, influential school teachers, finding places I fitted (and didn’t), why my English literature degree was not my finest hour, becoming a ghostwriter – and shaking off that ghost to discover who I should really be. Do come over.
PS Coming bang up to date, here’s how the current novel is doing
Do this before that: 5 production steps for brilliant books – guest post at Alliance of Independent Authors
A month or so ago, I wrote this advice in a post at the Alliance of Independent Authors: ‘Embrace the traditional publishing process and never rush it. It’s still the best way to ensure a book has proper development, error-catching and finessing.’
Debbie Young, who is editrix there, pounced – and asked me to explain.
So if you hop over to ALLi, you’ll find my concise guide to book production processes, why each phase is necessary and why the order is important. You wouldn’t believe how many times I see carts put before horses in the indie world. Step this way.
Alliance of Independent Authors, beginner's guide to book production. 5 steps of book production, book production, formatting a book, guest post, guest posts, interview, interviews, self-publishing, selfpublishing, using editors
Today I’m answering these questions at the website of the Alliance of Independent Authors. What was the best decision I ever made? (Thankfully they didn’t ask about my worst…) Do drop in.
What do you write? Not so long ago, most authors had to choose a genre and stick to it. But many of us are far more versatile. Our minds and our hearts don’t stand still. Book by book, we push boundaries or leap into genres where we hadn’t previously felt at home. As life reinvents us, we move on in our work.
No-one worried about that in the Renaissance, but it rarely went down well in traditional publishing, perhaps for sound commercial reasons. But now authors have more tools to reach audiences by our own efforts. We can take charge of our careers and our creative destinies. Will this breed of polyphonic, genre-agile author finally have their day?
I do hope so.
This path isn’t always easy, and that’s what I want to explore today.
We’ve both got eclectic portfolios. I’ve done non-fiction with my Nail Your Novel books and literary fiction that sometimes nudges into futurism. Victoria writes Cold War historical thrillers and personal essays. We’ve both written memoir after a fashion – she has Cold; I have Not Quite Lost. And Victoria has a radical new departure into young adult historical romance, Breath (coming summer 2018). What’s more, she’s having her first stab at crowdfunding – another brave new world.
We’ll come back to the crowdfunding in a bit. My first question was this: how have you ended up with such a varied oeuvre?
Victoria Honestly, I think I’m just bored easily. And I’m usually writing more than one story at a time, too. I find it keeps the creative juices flowing and also adds texture to my work.
Roz How do you manage them all?
Victoria Currently, I’m switching between Breath edits, storyboarding a new Cold War thriller, and writing essays on everything from family squabbles to creating compelling male characters.
Roz So much for versatility. What’s consistent in your work?
Victoria History, spirituality, family lore, dark humour. All of those tend to find their way into my work in one way or another.
Roz I have recurring themes too. I am curious about forces that lie beneath the surface; unusual ways we can be haunted and how we seek soulmates. At heart I’m an unashamed romantic. Places with lively pasts are often a trigger for me – crumbled mansions, houses scheduled for demolition, seaside towns closed for the winter.
Victoria I’m so with you on this, and I, too, get haunted by places. I wrote The Bone Church after visiting an ossuary near Prague with my then infant son. There were bones piled up all over the place. It occurred to me how there were so many different manners of death in that small chamber. People who had died of childbirth, a sword to the ribs, plague, a broken heart. The whole experience made me ache – but in a good way.
Roz Your latest project is for a new audience – YA fantasy. What steered you in this direction?
Victoria I never thought I’d write in this genre. Especially a romance, which is a genre I haven’t read very much of. But several years ago, I wrote a piece for the New York Times Modern Love column in their Sunday edition. It was about my youngest daughter being born with a catastrophic illness and how that brought my mother and me closer together. It was also about the curious, counter-intuitive blessings that come with tragic events. Things like wisdom, deeper friendships and getting to know people so far out of my own little universe. Hospitals are tremendously equalising that way.
I could not have imagined the response I got from that essay. People began writing to me, telling me about their stories – their love stories specifically. I have a blog, Cold, where I write personal essays, so it wasn’t entirely out of the ordinary for people to tell me about their lives, but this was different.
Without meaning to, I started training my writer’s eye on love. I noticed that every time I wrote an essay about love – especially the romantic kind – there was a swell of interest. Then I started writing little love stories for my own amusement – sometimes no more than a paragraph long. One of those, about a girl born at the dawn of civilisation, became the basis for Breath.
Roz And Breath is more than just prose, isn’t it? There’s artwork too.
Victoria I’m a very visual person. I love old photographs especially, and as I was writing Breath, I dreamed up a pre-Sumerian civilisation and imagined myself on an archaeological dig, excavating my characters’ lives. That’s when I started thinking of adding a visual component to this novel – original artwork from the world I’d dreamed up and old, brown-tinted photographs from some of the great archaeological digs, like the ones taken in Egypt at the beginning of the 20th century. And I loved the idea of writing about past, present, and perhaps even future archaeologists, as they uncovered my fictional universe and helped my characters solve the mysteries of their existence.
Roz So the visuals will be published in the book? Or will they be a separate special edition?
Victoria Both. I think prose and images go together like a face and a voice and can really enhance a story – especially if it’s a planned epic, where a whole world is being created. This isn’t to spoon-feed a certain aesthetic to a reader, never that, but to enhance their experience with elements of beauty and mystery that go beyond the written word. Take their imaginations even further.
Roz Let’s talk about crowdfunding Breath. How did that happen?
Victoria I’m one of 10 authors selected by Instafreebie – a company that connects readers and authors – to pilot a program that teaches authors how to use crowdfunding not only to fund projects but to energise and expand their fan base.
Roz To me, crowdfunding has one rather offputting aspect – having to push for contributions. But obviously you’ve found a balance that suits you. Tell me how you do it – and how other authors might be persuaded to embrace it!
Victoria This is without a doubt the hardest thing to get over. I’ve come to look at it this way: crowdfunding is a bit like venture capital for artists. No-one blinks when any other business raises money, but somehow artists are expected to self-finance, often work for free and even give their work away without any compensation. I don’t subscribe to that way of thinking and in fact find it untenable.
Roz I’m totally with you there. I’ve blogged about it at length elsewhere. We can’t give the impression that books can be produced out of fresh air or just for love, like a hobby. Even priests and doctors get paid. All the other people who work for us need to be paid. Creating books is not free. And writing them isn’t either.
Victoria For most artists, entrepreneurship is the only way we can continue to do what we do. We need to move beyond our own reticence and value what we offer. Joy, meaning, reflection, empathy, and entertainment are worthy and important elements in our lives. They should never be taken for granted.
You mentioned doctors, so I’ve got a good analogy for you: I remember my doctor, who was from Sri Lanka and used to run a medical clinic for the poor there, telling me how once they started charging patients, the entire dynamic of the clinic changed. They were serving the poor, so they only charged a pittance, and were barely able to buy coffee with what they took in, but both the function and the spirit of the clinic changed remarkably. Not only did the patients become more vigilant about their health, they trusted the doctors more and were far more likely to listen to their advice and change unhealthy behaviours. The overall health of the clinic population improved as a result.
The same is true with us artists and the people who consume our work, I think. It’s a pretty basic human response – to invest in something that means something to you rather than just be a passive observer.
Roz I want to do some tyre-kicking here because what you say is so important. A lot of crowdfunding campaigns don’t meet their targets. How do we get people to care enough? Especially as readers could buy a book that’s already finished and have it immediately. What makes them want to pledge money and wait for the product? How are you tackling these challenges?
Victoria Not only has this crowdfunding process forced me well beyond my comfort zone, it has illuminated how to deepen my relationships with present and future readers so that they feel connected and my characters begin to feel like a real part of their lives. Like family.
Roz How are you doing that? Can you give examples? You’ve mentioned to me that it’s already been a formative and amazing experience. Tell me how! And what feedback have you had from supporters to show that it’s working?
Victoria For me, it’s about creating value and making the experience as interactive as possible. Writers spend a lot of time alone and most of us are interior people, but we’re not necessarily introverts. We love being able to talk to readers and feel honoured when they share their stories with us. In fact, I truly consider readers like friends. We confide in each other, support each other, and are there during times of loneliness and self-doubt. The rewards I’m offering in my Breath campaign reflect that. It’s not only a matter of offering advance copies, which are great, but deleted scenes from the novel, personal emails, an exclusive short story and even story-consulting.
Roz Are there any common mistakes that authors make with crowdfunding and community building?
Victoria The first mistake is that they won’t try it. I can tell you without reservation that even if my campaign isn’t a funding success, what I will have learned and experienced in this process has been worth it. As for campaign mistakes – there are a lot of them, and I would have made them all if I hadn’t gotten such excellent advice from Instafreebie.
Videos are crucial. People want to know who they’re dealing with. It builds trust and makes your page more interesting. Really thinking through rewards you offer, so that when people get involved, they feel like they got something substantial in return for their support. Always, always focus on the reader. That’s probably the most important part.
Roz You mentioned that Instafreebie is helping with tactics, especially in terms of using the campaign to establish a long-term fanbase. How does that work? Can you tell us a few surprising things they’ve taught you? What is the basis of their expertise?
Victoria First, they will be featuring our books in their newsletter and then sharing our campaigns with those who expressed interested in our genres. They’re doing their best to create a virtuous circle for us. Most importantly, they’ve taken us through – step by step – the way to build a successful campaign page. That doesn’t mean the campaigns themselves will all be successes – even veteran campaigners have unsuccessful campaigns under their belts – but it helps us minimise mistakes, certainly.
Roz I want to return to where we started – the author who doesn’t fit into tidy boxes. There supposedly are two ways to market books – by category and by author. The latter is the slow road, because we have to seek commitment on a deeper and more individual level.
But whatever we write, I think community will become more significant for all of us. And everything you’ve been saying here chimes with this prediction by Orna Ross at the Alliance of Independent Authors.
More and more authors will embrace the craft and trade of publishing and business as well as that of writing, and develop sustainable author businesses that allow them to make a living from their writing. At the heart of this will be working out their offering to readers and how to build a community around that offering.’
I love this emphasis on community. Although writing is apparently a solitary activity, we have phenomenal resources for harnessing the positive energy that readers give us if they like our work.
I think readers enjoy keeping in touch and – like you say – feeling involved. I’ve particularly noticed it after publishing Not Quite Lost. People feel they know me. It opens a conversation and they want it to continue. And that’s lovely. It’s not cynical, about selling.
Some authors are setting up private Facebook groups – though I feel that’s risky because Facebook likes to move the goalposts if they think they can monetise. I’ve started using my newsletter much more. In that past, I didn’t know what to do with it.
I used to send newsletters only when I had a book or a course to launch. A year could go by before I had a piece of news, and all the while I was losing touch with people who hoped I was working on another book. So I decided I’d try writing more regularly, about the in-between times while a book is taking shape. Sometimes it’s about making progress; sometimes it’s about life and going round in circles. Like a blog but more personal. Some people unsubscribed because that wasn’t what they were expecting, or they’d forgotten why they were ever interested, but most have stayed with me. (Winning smile: if you want to try it out, it’s here.)
What I’ve described here is slow, of course. It has to grow organically. And here’s where I guess crowdfunding creates an occasion, a way to invite people in because it’s the start of something. It not only kick-starts a book, it can kick-start your community.
Have you got any final thoughts on this?
Victoria You said it so well. We’re in this for the long game and it’s not cynical. It’s actually very special and deeply gratifying.
Thanks for the ossuary pic Davis Staedtler on Flickr
What am I up to behind the scenes? My latest newsletter
And this blog begins 2018 on two lovely best-of lists. Both The Write Life and Feedspot nominated it as a Top 100 site for writers and self-publishers. If any of you were instrumental in this, xxxxxxxx
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It’s not my policy to run press releases, as this blog is my personal writing and publishing adventures. But this is a campaign I’m proud to get behind, and I think it will strike a chord with a few of you guys too.
Today, the winner of the Man Booker is announced, and Orna Ross (left), founder of the Alliance of Independent Authors, has issued an official plea to literary prize organisers everywhere: it’s time to open prizes to the quality work being produced by self-published authors.
‘As so many authors are now producing work of creative and commercial merit, a prize that fails to include author-published work is deficient: unrepresentative in a way that seems incompatible with the prize sponsors’ commitment to diversity and inclusion. We strongly urge the Man Booker Prize to find ways to include self-publishing writers in their programme.’
Of course, including self-publishers in established literary awards produces practical difficulties. We know; we know. I’ve suggested my own solutions to them here – the post is intended for reviewers but the issues similar to those faced by awards organisers – the volume of entries, the variable quality. And it’s useful to understand the reasons that perfectly ‘publishable’ authors choose the indie route – a positive choice, not the last resort of a second-rate writer. Ouch. It hurt to write that.
Orna is well aware of the difficulties of such a change, and she also has solutions:
‘We recognise that there are challenges in doing so and The Alliance of Independent Authors has issued a guide to help those organisations that are sincere in ensuring that the best books, regardless of the means of production, are brought before their judges and committees. The Alliance runs an ongoing campaign, Opening Up To Indie Authors, which advocates for the opening of all book prizes – and other parts of the books industry – to self-publishing authors.’
For me, this is what it’s all about – rewarding the best books, regardless of the means of production. This should be said boldly and loudly.
And so I’m spreading the word as much as I can. Who’s with me?
Any kind of merchant has to deal with damaged stock from time to time, but authors are usually shielded from this inevitable part of bookish life. Unless you self-publish, in which case you might be faced with this.
I confessed my distress on Facebook, and soon a crowd of authors were offering commiserations and creative uses for the dead books, so Debbie Young of the Alliance of Independent Authors asked me to write a proper post on the subject. Do come over, but be warned, it’s not for persons of a sensitive disposition. For instance, my English teacher from school, who would hyperventilate if she saw a crease in a book’s spine.
Social media are an inextricable part of author life these days – and for some, the value seems dubious. Writers might flog themselves to blog, tweet until they turn blue, but months in, the magic hasn’t happened. Where are the book deals, the viral quantities of fame? Is it worth all the trouble?
I am here to tell you it is. But you may be looking at the wrong things, or have mistaken expectations. Social media have been an absolute transforming force for me, and if the channels were closed tomorrow I’d be howling for their return. So I thought I’d quantify the ways I’ve found it so worthwhile.
Quick background. I’ve been on social media since 2009. My major haunts are Twitter @Roz_Morris and Facebook. And I blog, obvs. I probably get most of my results from those platforms as they’re where I’m most consistently active, but I also have profiles in the outer reaches of Linked In, G+, Pinterest and Tumblr (see my sidebar).
Building useful contacts
Networking is, of course, the number one aim. Like all professionals, we make our luck by bumping into the right person. Unless you’re born into a clan of literati, you have to build your own black book. Before social media, that came mainly from real-time encounters – book launches, writing groups, courses, conferences. Now we can strike up relationships without being on a guest list. On the internet, a cat can look at a queen (and will probably be photographed doing so).
And it’s much easier to keep our contacts warm. Quick DMs, text messages, Facebook posts are much less effort than letters, emails or – gulp – face-to-face coffee. Indeed, as most of us perform better on the page than at a party, written encounters probably allow us to be more genuine.
But Roz, you might say. What about the numbers? We might have thousands of friends and followers, and thousands we befriend and follow. Setting aside the times we might use social media just because the contact is fun, is it working for our careers? In that clamour, is anyone actually getting anywhere?
I can only speak for myself, of course. But I know this: my career under my own byline has been entirely generated from social media (if that sentence makes no sense, here’s an explanation). Because I blog, tweet etc, I have sold enough books to make it worth writing more; been offered paying jobs, speaking gigs, editing work and spots on online courses; found supporters among influential figures in the writing and publishing world. And I’ve met fantastic people who have become more than colleagues.
Social media work. But for most of us, the results are best measured in annular rings, not by weeks or months. But look back several years and you start to see a big change.
(Of course, much comes down to how you use it. What to blog about? This post has some ideas.)
But there are other benefits too, and you don’t have to wait for them to mature.
Social media helps create a work environment
Non-freelances ask me how I stay motivated if I don’t go to an office. I think they imagine I’m running amok watching Breaking Bad or surfing eBay or strolling to the shops or idling away an afternoon with my horse. Personally I’m too much of an obsessive to skive, but if you are too tempted by the distractions of home, social media can create a circle of colleagues to keep you accountable. On Facebook and Twitter, if you look, there are plenty of writers sharing their milestones or their to-do lists. They just finished a draft. Got edits back. Wrote or approved a press release. Signed up for a course. It’s like mini-Nanowrimo community, except you can use it year-round, 24/7.
If you know how to set up lists on Twitter and Facebook, you can assemble a posse of virtual team-mates whose work ethic will spur you to achieve. (And then make a separate list of people to hobnob with in downtime.)
Social media are a tool for book research
Somewhere, one of your contacts (or perhaps more than one) can verify a snippet of research or point you to a trustworthy source. Of course, you might also get misinformed nonsense, but hopefully you’ll have enough contacts for a reality check.
Social media are a resource for reliable advice on publishing, whether traditional or indie
Thanks to social media, the author corps 2016 is a savvy beast. We’re more clued up about fair book deals. We have our eyes open about the pitfalls and pleasures of the many publishing routes. We have access to fantastic watchdogs like Victoria Strauss, the Alliance of Independent Authors. Other terrific places for advice are Joel Friedlander’s The Book Designer and Jane Friedman – generous, knowledgeable professionals who are raising the general level of publishing knowledge for everyone’s benefit.
But there are so many platforms…
Well you don’t have to do all of them. Which platforms should you choose? I only know what works for me, so put these questions to social media expert Adam Waters in this edition of my radio show.
Although social media might seem ephemeral, they are actually permanent. Years on, you might feel a twitch on a thread, and hook a new person.
Over to you. What social media platforms do you like? How do you use them? What works for you and what doesn’t? If you look back over the long term, what have social media helped you accomplish? Any questions? Let’s consult the hive mind.
If you’re friends with me on Facebook you’ll have seen a good bit of gallivanting this week at the London Book Fair. As soon as Olympia closed its doors, the Alliance of Independent Authors began its 24-hour marathon festival of advice and information for authors. Whether you’re indie or not, there’s heaps of interesting stuff for the 2016 author, such as: a cover design clinic, marketing advice and tips on crowdfunding.
I’m chairing a panel on editing – what an editor does, how you choose one, some misconceptions and some stories from the trenches. My co-conspirators are Ricardo Fayet of the Reedsy editorial marketplace; indie author Laxmi Hariharan; and author and editor Andy Lowe (who you may recognise from The Undercover Soundtrack). Do come over.
Alliance of Independent Authors, editors, how to choose an editor, how to improve your writing, how to learn to write, iaf16, independent authors, independent publishing, indie author fringe 2016, publishing, video, working with an editor
First there’s a swift guide to becoming a ghostwriter. Debbie Young, chief blogatrix at the Alliance of Independent Authors, asked me for a starter piece for writers who might be interested in ghostwriting as a career move. It’s something I’m forever asked about, and if you’ve hung around this blog for a while the advice won’t be new to you. But otherwise, step this way.
Secondly, I was contacted by Warren Adler, author of Wars of The Roses (yes, THAT Wars of the Roses), who’d seen me loitering on Twitter and wanted to include me in a showcase on his website, called Writers of the World. The brief was exacting – 150ish words on why I write. Of course, I could give him a complete dossier, and while I tried to super-condense my million-or-so favourite reasons, I ended up with a post about the power of why in storytelling. But I eventually completed my assignment and it’s here.
So I’ll be back in a couple of weeks, with posts and Undercover Soundtracks. In the meantime I’ve cued up a selection of useful tweets to keep your writing at a healthy bubble. See you soon.
Alliance of Independent Authors, being creative, creative writing, ghostwriting, guest post, how to become a ghostwriter, how to get into ghostwriting, interview, interviews, Warren Adler, Warren Adler bestselling author of Wars of the Roses, why do you write, why I write, Writers of the World
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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