ISBNs: CreateSpace freebie or own ISBN? Pros and cons

I’ve had this question from Daniel Vertrees, who is making his first print edition, and it turned into a pros and cons discussion so I thought it would make a useful post.

Did you use one of the Createspace ISBN? I want to be able to sell directly (like book signings) and wonder if it is better to buy the ISBN?

A what?

The ISBN is a unique digital identifier for a book (oh here’s the Wiki entry). Traditionally, publishers buy them in batches of between 10 and several thousand, and allocate them to each edition of any book – even ebooks. If you’re UK based you can get them from Nielsen, in the US from Bowker. CreateSpace offers you the option of a free ISBN or you can input one you’ve bought yourself. If you use the other main indie publishing print-on-demand company, Ingram Spark, you need to supply your own ISBN.

Your own ISBN or CreateSpace’s? The pros and cons

There’s a lot of emotional talk about whether you should buy an ISBN or use CS’s. Here are a few myths dispelled.

Doesn’t the book ‘belong’ to CreateSpace if you use their ISBN?

No it doesn’t. It belongs to you. You have the copyright. However, you are restricted about where you can have the book with that ISBN printed. See below.

CreateSpace will be seen as the publisher of record.

Yes it will. I’m not sure this makes any difference to individual buyers who are browsing for your book. If they’re trawling down the book details, liking what they see, they’re unlikely to screech to a horrified halt if they see it’s published by CreateSpace. They probably won’t notice.

However, the CreateSpace name may deter booksellers from ordering. But that’s not because the name is associated with Beelzebub Bezos, self-publishing or any other giant imaginary stigma. It’s because CreateSpace’s distribution terms (through Expanded Distribution) are not as favourable as Ingram Spark (Lightning Source for indies). CreateSpace discounts are not as competitive and delivery times are not as swift.

However 2

In the past, indie authors who published via Lightning Source (now Ingram Spark, remember) found their books sometimes showed ‘out of stock’ notices on Amazon. This has caused much hair-tearing, and mumblings that the big corporations were having some kind of squabble with publishers caught in the middle.

So now, many indies are now buying their own ISBN, printing through CreateSpace to sell on Amazon, then printing the same book (with the same ISBN, remember) to distribute everywhere else. Best of both worlds.

It all sounds good – except for the cost of ISBNs. In some countries they’re free, in which case you’re laughing. In countries where they are not, you’re not laughing. From Nielsen, you’re looking at £144 for 10. The unit cost is lower if you buy 100 (£342) but that’s rather too painful for me. Allocating ISBNs used to be a big administrative faff (I used to fill in the publisher’s forms when I was in charge of an editorial department) but now it could surely be automated and free. Don’t get me started, but I’d rather use that money for something that would benefit the reader, such as better cover art. Also, publishing on Ingram has a cost too, they charge for changes and the set-up is more challenging.

More on expanded distribution

1 So far, all my print titles have used CreateSpace ISBNs. Despite the distribution factors, this doesn’t stop me getting bulk orders every month for the Nail Your Novels. I can’t tell where they’re going, but they are being bought in bulk, somewhere. Maybe I’d get more bulk orders if I had my own ISBN and an Ingram version. Who knows?

2 According to Bowker:

Without an ISBN, you will not be found in most bookstores, whether online, or down the street from your house. Buying an ISBN is your first step to insure that your book is not lost in the wilderness.

This is true, of course. But even if books are on databases, and available at competitive rates, they sell zip without publicity. Bookstores get some of their stock because customers ask for it. But much of their speculative stock is books they order because they are featured in the wholesalers’ magazines, which is arranged by publishers’ marketing departments, or because a publisher’s rep called. So even with a shiny Bowker-or-Nielsen ISBN, the world is not your oyster. How much of a publicity campaign can you mount? Put another way, without a shiny Bowker-or-Nielsen ISBN you may not be missing very many sales because getting noticed is the most difficult thing of all. (Sorry.)

Short version, please

Sorry, Daniel. If you’re getting your paperback made for Amazon sales and direct hand sales, a CreateSpace ISBN will be fine. Certainly if you’re new to making books, use CreateSpace as your training wheels. Also, there’s nothing to stop you making a new version with your own ISBN, and uploading to CreateSpace and Ingram later on. You can change the CreateSpace settings to take your book off expanded distribution, so that the copy that reaches catalogues is on bookseller-friendly Ingram. You can also, if you have a really neat mind, disable the old CreateSpace listing by making the book unprintable, which takes new copies off sale although the old listing will remain.

As for me, I usually use the Createspace ISBNs. But I’m trying a new tack for the plot book. I’ve made a deal with a small publisher to put the book out with their ISBN. They get the book for their catalogue, I do everything else. I’m initially printing through CreateSpace, then seeing if a non-CS ISBN printed with Ingram Spark will give me any advantage. It would be nice if I could eat my pessimistic words about ISBNs. I shall report. :)

Thanks for the printing press pic Tadson 

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.
‘On the twelfth day of Christmas my true love sent to me… Twelve drummers drumming, eleven pipers piping, ten lords….’ Is that too complicated for an opening scene?

Anything further to add? The Createspace/Ingram universe is changing all the time, the ISBN issue is one of the most divisive in the indie world – so comments and further discussions will be welcome!

 

 

 

Is that really a publishing offer?

I’ve had this question:

I’d love a traditional publishing deal. I’ve submitted my manuscript to two agents, and while waiting to hear from them I have been offered three ebook contracts – but I’m not sure which way to go. Also, could you quote me a price for professional editing?

I answered the email at length in private, but some interesting issues emerged that I feel might make a useful post.

Wow, three offers!

Three ebook contracts already. Way to go! Some publishers are offering ebook-only deals to authors, and considering print if sales are good. But in the nicest possible way, I was worried about my friend here – because in this market, it seemed unlikely to get that many serious offers and not have secured an agent.

My correspondent sent me the details of the publishers and I checked their sites. I’m not going to reveal their names here as I haven’t contacted them or asked for statements, as you should do in a proper investigative piece. Also, they weren’t attempting to scam or con anyone. They certainly could publish her book. But she didn’t realise they weren’t publishers of the kind she was hoping to get offers from.

One site had several pages about selling tuition and support to authors. There was a mission statement page that included a point about ‘fees’. The others stated they offered services to authors. Publishers – of the kind that my friend here was seeking – don’t use those terms. These people are pitching for business, not offering a publishing contract.

If I were her, I’d wait to hear what the agents say!

But if you do want to use self-publishing services, here are a few pointers.

Beware rogue clauses

Some publishing services providers can try to tie up your rights so that you can’t publish the book elsewhere. Others will make you pay for formatting and then not release the files for you to use yourself unless you pay a further fee. (I know regular readers of this blog who’ve been caught in these situations.) Some charge way over the market rate as well.

To get acquainted with the kinds of scams and horrors that are perpetrated on unsuspecting authors, make a regular appointment with Victoria Strauss’s blog Writer Beware.

Check the quality

Assuming no nasty clauses, you also need to know if the services are good enough. I’ve seen some pretty dreadful print books from self-publishing services companies. Before committing, buy one of their titles and check it out, or send it to a publishing-savvy friend who can help you make a sensible judgement.

Your best defence? The Alliance of Independent Authors Choosing a Self-Publishing Service will tell you the ins and outs.

Readers and communities

Obviously traditional imprints score here because they have kudos and reputation.

And the publishing services companies on my friend’s list were attempting to address this. They emphasised that they were attached to reader communities, or wrote persuasively about how they were in the process of building them.

This sounds good, and let’s assume they are genuinely putting resources in. But communities take years to establish, plus a number of these publishers seemed to be relying on their writers to spread the word. We all learn pretty quickly that we need to reach readers, not other bunches of writers. And if a community is in its infancy, you might be better buying advert spots on email lists such as Bookbub or The Fussy Librarian, depending on your genre.

Some of these companies may give you no advantage over doing it yourself. You might be in exactly the same position as if you put your book on Createspace and KDP and write a description that will take best advantage of Amazon search algorithms.

As a novice author, you might not realise how unmysterious these basics are. So don’t make any decisions without reading this post of mine – before you spend money on self-publishing services….     And try this from author collective Triskele Books: The Triskele Trail.

Wait for the agent… part 2

Basically, if you get a proper publishing offer, you don’t pay for any of the book preparation – that includes editing, formatting, cover etc. Which leads me to my correspondent’s final question about editing. This is one of the things a publisher should do! You only need the likes of me if a) an agent says you need to work with an editor to hone your manuscript or craft or b) if you intend to self-publish!

Thanks for the main pic liquene on flickr 

Do you have any advice to add about assessing offers from publishers or publishing service providers? Or cautionary tales? Please don’t name any names or give identifiable details as it may get legally tricky …

Are you an author or a publisher? How indies are making their own rules

Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.

Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.

For and against

Julia Jones

Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.

Joanna Penn

Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)

Michael N Marcus

But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’

Now that’s a very interesting view. We’ll return to that in a moment.

But look, no ISBNs at all

Dan Holloway

Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.

Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.

Author or publisher? Or something else?

I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.

Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.

Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.

What kind of self-publisher are you?

New cover for Nail Your Novel! And FREE stuff….

The new cover should now be live on all the buying outlets, so here’s the official unveiling!

So why did I change?

First of all, I wanted to funk it up. Give it a chance to pop. The purple cover didn’t scream ‘creativity’ and was rather more staid than the tone of the book. (A point that was echoed by a few commenters here and there. Glad we feel the same, guys!)

Also, the original cover wasn’t designed with a series in mind. For books 2, 3 et al I could have varied the background colour and the wording, but the difference would have been practically invisible on a black and white ereader. And see my previous remarks about dullness. Dull, dull, dull.

This tied me in a few creative knots when I designed the characters book. It had to look like it evolved from NYN original, and allow for distinctive variations with further books. And then – something that nobody knew but me – the characters book and its cousins also had to fit retroactively with the updated design.

So… the new NYN cover had to look like the origin book, rather than another book in the series. For a while I fiddled with graphics that would suggest ‘writing’ and ‘drafting’, but decided that might look like another new book. In the end I stuck with typography, to echo the original cover’s use of quotes from the text. This gives it the best chance of being recognised as the original book, but still look like a snazzy reboot.

Big tip for updating a cover on CreateSpace

When you update a cover (or the book’s interior) on CreateSpace, the book becomes unavailable until you approve it, although it’s still available from third-party sellers. It spends 12-24 hours being processed, then they allow you to proof on screen or order a print proof.

Obviously you don’t want your book off sale. so you want this completed swiftly. With a major change like a new cover, you need to see it in print; with colour processes, trimming and so on I think it’s too risky to okay a new cover on a digital proof only. But the fastest you can get a proof to your door is a couple of days, and you’ll pay a big whack for the postage. But if you don’t mind how long the proof takes to arrive (up to six weeks) it will cost only a few dollars.

Your book off sale for six weeks? (Sound of screaming.) Here’s my solution. Make a dummy book.

In my previous post, Catherine Ryan Howard advised you not to make a new edition when updating a book. I agree with her. But this dummy edition will not go on sale. You’ll use it to do the fine tuning, then transfer the files when you know they work.

You need to set it up with a new ISBN – but that doesn’t matter because you can use a free CS one. But you upload the new cover on that and order a copy. While it wends its sweet way to you via China and the International Space Station, the real book sits undisturbed and available. Once you’ve seen physical proof and are happy, you know you can upload the new cover in safety.

A limited edition giveaway!

So… this means I have a special thingy to give away: the dummy book. I decided to have fun with it. Instead of loading it with the interior of the proper book, I created a notebook (which in my CS dashboard I called the Nail Your Novel Notebook of Surprises). The pages are numbered but blank, so you can scribble your ideas and workings but keep track of them with an index. And the surprise? Every 10 pages or so is a writing tip.

There’s only one, so this is an ultra-limited edition. It won’t be on sale as I can’t imagine anyone wanting to actually buy the thing, but it’s fun to be able to give it away. I’ll also throw in a copy of the original book with its old cover, for you to use or to pass on to a friend.

What do you have to do?

Share this post about my new cover, come back here and let me know you have, and I’ll hold a draw on Monday 8th July. One entry per place shared – so you get multiple goes if you spread the news on Twitter, Facebook, G+ or even the International Space Station. Just remember to note here if you shared on multiple platforms.

Oh, and you can find the new Nail Your Novel, with extra cover va-va-voom, on print and ebook outlets now

How to make a print book using Word – first of a series at Writers & Artists

 

Gosh, this is grown-up. After I gently pointed out to Writers & Artists that some self-publishers are as adept in print as in e-publishing, we got chatting. They were interested in my background (running an editorial department, writing, editing, book production and this blog!) and the result is I’m doing a series at Bloomsbury’s Writers & Artists site on fundamentals for good self-publishing.

This first piece is on turning an ebook file into a print edition. It’s an expanded version of a pair of posts I wrote when I released the paperback of My Memories of a Future Life, and hopefully a little more simplified for first-timers. If you want to know more about how to make lovely-looking books, come on over.

 

 

Before you spend money on publishing services, read this

As indies get ever more professional, an entire service industry is springing up to offer us services for every occasion. At this year’s London Book Fair, the Authors’ Lounge was heaving with suppliers, and no shortage of willing customers. While it’s great to have access to these, authors are ripe for rip-off.

This week David Gaughran highlighted unscrupulous companies that charge exorbitant prices, or hoodwink authors into paying for services that could be obtained for very little or no cost.

So this post is a self-publishing 101; a catch-up for those who are wondering what they need to spend money on. In some cases, knowledge is the answer; all books, authors and genres are different, and one supplier does not fit all.

It’s virtually impossible to publish a book without any expenditure, but we can make sure we use our budgets wisely – and stop writers filling the pockets of unscrupulous suppliers who are getting rich on our dreams.

Publisher accounts

Some authors don’t know they can create their own user accounts on Smashwords, Kindle Direct Publishing, Kobo and CreateSpace. Or how simple it is – basically, no more difficult than entering your details in a mail-order website.

Some companies offer to upload your books through their account, but this is unnecessary. Even if you don’t make the files yourself, you can still upload them. If your service company went out of business, what would happen to your book listings? Moreover, if a third party controls your access to these publishing platforms, it’s harder to adjust your book’s appearance and description – which as you’ll see is essential to successful self-publishing.

Ebook formatting

This week, as you may have gathered, I published the follow-up to Nail Your Novel. I was rusty with the e-platforms, but it didn’t take long to get reacquainted.

Basic ebook formatting is dead simple if you can use Word on an everyday average level. You don’t need to be a wizard, but you do have to be meticulous. The best instructions are at the Smashwords Style Guide, a free book with diagrams and reassuringly clear instructions. There are a couple of other useful links in this post I wrote 2 years ago when I first ventured onto Kindle. I reread them when I uploaded my new book last week and it all went smoothly.

Indeed, if you have Scrivener, it will format ebooks for you.

Print book interiors

Print books are more tricky than ebooks, and amateur ones can look dreadful. But there are various tools to help beginners do a good job for very little money.

I recommend you read Catherine Ryan Howard’s book Self-Printed, which I used the first time I ventured onto CreateSpace and I still keep to hand to remind myself how to set up a book. She also has a ton of other useful guidance on book formatting.

How do you make the interior? CreateSpace provides Word templates, if you need help (although I make my books in a design program and upload a PDF).  CS templates are pretty plain, and Word isn’t ideal for interior formatting, but it’s fine for novels, which require hardly any design. In any case, a neat finish isn’t created by fancy typesetting, it’s from consistency and readability – and you can find a post I wrote on that here.

If you want a slicker look for little money, try Joel Friedlander’s book design templates for use in Word.   Joel has created interiors that you graft your text into – which is exactly what happens when books are designed in mainstream publishers (although they don’t use Word).

Which print-on-demand company should you use? There are two main options: Lightning Source and CreateSpace. LS isn’t suitable for beginners. It costs to start a book project and proofs are expensive. CS, though, is free to set up and holds your hand. Here’s a post I wrote comparing the two for novice publishers.

Covers

A great cover is money well spent. But you need to take creative control because you could end up with something unsuitable, horrible, or even illegal if the designer downloaded images from Google instead of sourcing them legitimately. This happens.

When you hire a cover designer, you need to know how to choose them and how to know when the job has been done properly. Identify your genre, familiarise yourself with its most successful covers, then you’ll know how to judge which designer is right for your book. Here’s a post I wrote recently on getting a cover designed.

Marketing

At LBF I talked to a publicity company to find out how they’d publicise a literary novel. They hadn’t tackled literary fiction before, and seemed unwilling to admit it until I pressed them hard. If I’d been a newbie, they’d have been selling me expensive packages that were unsuitable for my book. (I wasn’t looking to buy anyway; I was asking out of curiosity.)

With marketing, learn as much as you can before you hire publicists or buy advertising. I’ve learned a lot from Joanna Penn’s blog, and this is where I’d send you too.

Not all marketing has to cost money. Book descriptions, price point, tagging, titling and categorisation will all affect whether your book can be found by its ideal readers and you can experiment and tweak ad infinitum. (Remember I said you don’t want to have to ask a third party whenever you adjust your book’s back end? This is a good reason why.)  You might find you know more about marketing than you realise, as I did when I was asked to write this guest post.

Two more books I’m going to recommend:

• Choosing a Self-Publishing Service by the Alliance of Independent Authors
•  and Let’s Get Digital by David Gaughran

psst… Editorial services

First, of course, you need a book that’s fit to be published. In a publisher, there would be a team of people handling different editing stages:

• developmental (the big picture: book structure, characters, narrative voice, plot etc)
• copyediting (niggly details like plot consistency, names, timelines)
• proofing (looking for typos and other mistakes)

It’s worth hiring expertise to help you with these and it’s unlikely that you can do it cheap. But you can choose wisely: here’s my post on issues to be aware of.

Thanks for the pic Horia Varlan

What other warnings and tips would you add to my self-publishing 101?

Nail Your Novel: Writing Characters Who’ll Keep Readers Captivated

Alive and sparking now on all ebook formats

How to ignore an editor’s suggestions and still fix your novel

When my agent took my second novel Life Form 3 he mostly adored it – but felt the main threat took too long to develop.

A publisher was interested so we had a meeting. In a creative, convivial afternoon, we brainstormed ideas. I took reams of notes. But in the end I did nothing they suggested. Not one thing.

They were right

At home I made a beat sheet (one of my all-time lifesaving revision tools, explained in Nail Your Novel). It had been a while since I’d read the manuscript. The beat sheet showed that too much of the first half was atmosphere instead of story. My esteemed colleagues were right that it was slow.

They were wrong

But they were disastrously wrong about how to pep it up. ‘Let’s have a character on the run, a threatening political movement in the wider world of the book, another sub-plot to keep characters busier’… All sorts of plot fireworks, all out of kilter and unnecessary. I knew the central character had a compelling major problem and that the action must come from that, not from a carnival of chaos around the edges.

So how did I fix the book?

What was I thinking?

As always, the best insight came from examining why I wrote the story the way I did – made possible by the beat sheet (left, with fortifying accessories). I included those slow scenes for a good reason – to introduce ideas and threats that would emerge later. I’d made them strange and intriguing, but I now saw they didn’t have enough momentum in themselves. They didn’t immediately generate interesting situations.

I’d known I was in trouble
I had even suspected they were weak, so I’d tried to solve it with false jeopardy. I confess I made the main character worry that nasty things could happen. I now clutch my head in shame – these extended periods of worrying were not jeopardy, they were nothing darn well happening.

I even realised this, and tried to atone by making the main threat bigger. In hindsight it creaked with desperation.

Agent and publisher were nice enough not to say any of this. Perhaps they didn’t notice or mind. Perhaps only I knew how bad it was, because I knew my desperate motivations.

Unpleasant as it was to examine my writerly conscience, the answers helped me decide what to keep, what to add and what to adjust.

Better. Stronger. Faster.
I returned with a leaner, stronger Life Form 3. A really compelling read, said my agent – not noticing it was actually longer. He didn’t give a hoot that I’d ignored his suggestions. He didn’t even remember them. Unfortunately the publisher’s imprint closed that month – so Life Form 3 was out in the cold again. But that’s another story.

Editorial suggestions

Some writers hate it when editors, beta readers et al make suggestions. I don’t – I welcome them as oblique illuminations from the surface to the murky deep. And if you’re new to the writing game, or need to fit an unfamiliar genre, there’s much that a savvy editor can do to guide you.

But you mature as a novelist by understanding your own style and your individual ways – which includes how you handle your material and second-guess your own process. In a talk given at BAFTA, screenwriter, playwright and novelist William Nicholson said it’s the editor/producer’s job to tell you something’s wrong, and the writer’s job to find out what that is.

Before you act on revision notes, reread your manuscript and examine why you wrote what you did. This is how you stay true to your novel – and how you come into your own as a writer.

Thanks for the camel pic Loufi

In my next post I’ll discuss in detail how to add jeopardy to a story. In the meantime, let’s discuss –

Have you had detailed editorial advice on revisions, and how did you approach it? Do you appreciate it when editors chip in with changes they think would improve a book?

You can find my beat sheet in my book Nail Your Novel: Why Writers Abandon books and How You Can Draft, Fix and Finish With Confidence.  A second Nail Your Novel is under construction – if you’d like information, sign up for my newsletter.

And – spoon tapping on glass – this week I had an email from CreateSpace telling me that demand for the print edition has been so high that Amazon placed a bulk order so they have enough stocks for Christmas. Who says indies are killing print? :)

Book design, distribution and marketing – CreateSpace or Lightning Source for my print edition?

I’ve had an email from writer/poet Philippa Rees , who is weighing up whether to use CS or LS for her book. Dave and I have published with both for a number of years, so here’s what we’d say from personal experience…

Philippa: My book is a poetic history of scientific thought. It’s a dip-in-and-return work, most likely to be read in print (although I will put it out as an ebook too). I have seen some VERY amateurish CS-designed books, fairly dire, and some acceptable ones.

Eek, I take it you’re referring to the covers?

CS offers templates for covers and urges you to use them, but I recommend you don’t. For one thing, they’re familiar enough that they yell ‘CreateSpace!’ to anyone who’s been on the CS site. Not that there’s any stigma, but you want your cover to yell about your book, not the company whose rather recognisable template you used.

You don’t have to use CS templates. You can upload a PDF, created by any package you want, either by yourself or a designer, so long as you leave space for their barcode and calculate the correct spine width from your page count. They give you an easy help page to get this all right – and indeed they have excellent help resources in the CS Community.

Although covers may look easy, if you don’t have experience, please, please use a designer. Your book is intended to be taken seriously and it needs a cover to do your words justice. The wrong design, even if it looks nice to you, might send the wrong message to readers. If you’re prioritising what to budget for this is a one-time investment that will do your book endless good.

So far, I’ve designed my own covers, but if I found I was out of my depth (which is extremely likely with my next novel) here’s where I’d look.

• 99 Designs – a design site that lets you host a competition to find the ideal designer for your book. Post your requirements and budget and professional designers will pitch for it. You only pay if you commission a suggestion.
• Smashwords has a list of cover designers that other Smashwords authors have used and would recommend, both for ebooks and for print – email list@smashwords.com and ask for ‘Mark’s list’ (that’s Mark Coker,the very approachable inventor of Smashwords).
• The Book Designer – fantastic site by design veteran Joel Friedlander. He holds monthly book design competitions, so you can browse and find a designer whose work hits your sweet spot. He also writes some of the help entries on the CS site, though he’s not affiliated with them. He’s just a generous-spirited, knowledgeable guy.

When talking to a designer, make sure they know the book will be print on demand. POD processes sometimes don’t crop a book straight, or line up the spine precisely – so you need a design to forgive that kind of error.

Interior design CS also provides a Word template for the interior. Dave tried it, and while it was quick to use and saves you worrying about page sizes and margins, it has glitches. For instance, it insisted on an ‘acknowledgements’ page and when he tried to delete it everything else went haywire. But again, you can upload your interior on a PDF – and that way you have complete control.

Dave and I create our book covers and interiors on Serif PagePlus – much cheaper than the top-end packages like Adobe InDesign, and more versatile than Word.  Here’s my post on formatting the interior of My Memories of a Future Life.  It’s fiddly, but if it gives you an attack of the vapours, freelance designers can do it for you.

Europe, Australia etc

Philippa: I understand Amazon is difficult about stocking books put out by LS, yet LS may be better for distribution to Europe and Australia.

We’ve frequently found our Amazon listings for LS books are quoted as out of stock or ‘available in six weeks’, for no reason. When queried, Amazon reply that they get the data from the supplier. The supplier said the book was available. In fact, when you do order, the books arrive as fast as any other book. But buyers don’t know this. The same used to happen when I published Nail Your Novel with Lulu.

Pause a moment to growl and stomp.

Initially, LS gets books to the European Amazon sites more quickly. When you approve for press, the cover artwork goes up within a week. With CS, books go to Amazon.com immediately but expanded distribution to the UK site and further takes a good two weeks, sometimes more.

Some writers make CS editions to sell on Amazon, and LS editions for other channels. I’m not sure about the logic of that because once the book is up it’s up.

Charges

You make more profit per copy on LS than you do on CS, but LS charges setup fees – GBP£42 to set up each title, and a handsome hourly fee to give you proof copies. If you want to make changes on LS books that can get you into more expense and if there’s something wrong with your files they’ll charge you while they fret about it. As their PDF requirements are a lot more strict than CS, you could find yourself spending a lot of time and cash if you’re new to this.

CS don’t have any hidden charges. Proof copies don’t cost any more than ordinary copies. However, CS quotes long shipping times (6 weeks) in the hope you’ll stump up for express shipping – especially if you’re eager to get your proof. Ignore those quotes and get the cheap option – it’s never taken anything like 6 weeks for me to receive a proof copy.

Eek, GIANT lettering. Proof copy prompted redesign and saved Nail Your Novel much embarrassment

Advance review copies

Philippa: I plan to print pre-publication copies to get (and then add) endorsements for the final edition.

As I said, proofs cost you dear on LS. So I’d set up a rough ARC edition either on CS or Lulu, where proofs are cheaper. Then if you’re still keen on LS, save your proofing budget for the final, sparkling copy. If you want to stick with CS, changes are easy – upload a new PDF, wait a day or two and check the proof either on line or order a copy.

Don’t try to do without a hard proof copy entirely. Margins in the printed book may not look as you expect. Cropping can make cover proportions look totally different. Colours can look sludgy or gaudy in the flesh, even if the PDF looked luscious.

Use Amazon Marketplace

Do you know Amazon Marketplace? Individuals can sell anything that’s on the Amazon database. A lot of people use it to resell secondhand books, but authors often use them to offload surplus contractual copies and online shops also sell that way. I have a stock of my CS books and put them on Amazon Marketplace to fill supply gaps, for instance –

• - for limbo days when my print copies are unavailable because I’ve updated the cover or interior.
• - for distributing my books to people who are outside the usual Amazon areas; if people contact me saying they can’t get my book, I direct them to Marketplace or sell them a copy directly using Paypal.

See the offer of ‘new’ and ‘used’ copies? Those are third-party sellers on Amazon Marketplace. One of them is me. As for the others, how could they?

Tax

Philippa: What about the tax issue for a non US writer publishing with CS?

As with Kindle, CS deducts 30% from your earnings unless you send an exemption form, for which you need a US tax code. Here’s how you get it. I’d advise you sort the paperwork before you start selling, as CS can’t refund you the tax. You have to apply to the IRS, which by all accounts is like shutting your eyes and wishing really hard.

 Service

Phillipa: What’s CS service like?

I’ve been pleased so far. Their support team are quick to answer questions, and patient with what must be moronic queries. Mind you, I haven’t had any real problems, which is usually the acid test. Dave had mighty problems with a graphic novel he was producing with LS, and found their UK help people were clueless and obstructive. But that was a full-colour book with high-resolution graphics. With straightforward text we’ve had no problems.

 Amazon, Amazon, Amazon…

Is the Amazon connection with CS a genuine benefit?

Undoubtedly. As we’ve seen, it seems to be ‘easier’ to keep a CS title in stock.

I find my CS titles regularly get promoted in ‘three-for-two’ offers (see pic) – especially Nail Your Novel. It gets offered with other top-selling writing titles – priceless promotion that you couldn’t buy. This never happened – ever – when my print edition of Nail Your Novel was on Lulu.

Marketing

Philippa: My book is probably the most unmarketable book ever written. I believe it will have a market but it will be up to me to find it. Do you know of anyone who has signed up for CS ‘marketing’ help?

I don’t, and I’d like to hear from people who have. But I would be wary of standard packages, especially for unusual works such as yours. Expert help is always worth paying for, but it has to be the right expert.

What works for one book won’t work for another – as I know from the vastly different experiences of marketing an offbeat novel starting from a writing advice platform! To be honest, I’m still guessing – I’m soaking up lessons from novelists who have marketed successfully but the less easily you fit a widely read genre, the fewer equivalents you have. Bide your time, understand who your audience is, and find out how similar writers have reached theirs. If an expert for marketing your book is out there, one day you’ll trip over them.

And – good luck!

Thanks for the printing press pic Tadson and the movable type pic Leelilly 

Any further questions? Share them in the comments! And comment if you have any further answers, or particularly if you want to set something straight

How to prepare your Kindle text for a print edition – Part 2: chapter head styles and cleaning up the text

Yesterday I discussed how to choose the size of your book and the typeface. Today, we finish your book’s interior  

Fancy stuff like chapter heads

You can leave the chapter title in the same font as your body copy, or you might want something eye catching to draw the reader to the first line – maybe a motif or a drop capital. (Designing this deserves whole posts by itself; there are trillions of ways to do it, but the short answer is to find a book you like the look of in a similar genre and copy that). You might want a different font (not too fancy, please). I used Copperplate Goth BT.

Unless you have a fantastically good artistic reason, don’t use more than one heading font besides your body copy. Books look better if typefaces are inconspicuous and style is uniform. A little contrast is allowable in chapter headings, but if you have more than two typefaces it looks like it was made by someone under a responsible age.

Chapter titles don’t usually begin at the very top of the page. You’ll want to add line spaces, both above the chapter heading and afterwards, before the actual text starts. Experiment until you find an arrangement you like. Then write down exactly what it is – eg 3 carriage returns above and 2 below. You need to do it exactly the same in all the chapters. Properly typeset books are consistent about everything.

Similarly between sections that aren’t chapter breaks you’ll need a gap. How many lines do you want them to be? Do you want a little motif in the middle to delineate them? What about the paragraphs? Do you want them full out after a section break? Full out (ie not indented) is the usual option but I have seen indents work nicely as well. Make your decision, write it down – and do the same thing every time.

Then go through the manuscript and put them in.

If you formatted for Kindle you probably put page breaks in for chapter endings. If you formatted for other strains of epub you probably didn’t use page breaks. Go and put page breaks in for chapter endings now. If you try to split the book with carriage returns instead of page breaks, the next stage will do your head in. And make you resort to far more flabbergasted language.

Blank pages and front matter

Use page breaks to make blank pages too. And strip off the folio on blank pages if your program allows, or change the text colour to white so it doesn’t print.

Where do you want blank pages? Certain parts of your book must begin on right-hand pages, so you might have to put blanks in to achieve this – especially at the front.

Before you get to the text proper you need a few bits of set-up copy, known as front matter. Look in any published book and you’ll see. Usually these are:

• half title (right-hand page) – where you can put biographical info too
• copyright notice and ISBN etc (left-hand page)
• full title (right-hand)
• either blank or acknowledgements (left-hand page)
• start of book (right-hand page) or part 1/section 1 title page (right-hand page, then blank, then text proper on right-hand page)

Widows, orphans – the mysterious faffing I was leaving until last

Now you have the biggest, dreariest task of all. You have to look for bad breaks at the tops of pages – widows, orphans and stumps.

Widows and orphans are short lines in places you don’t want them – at the very bottom of a page or the very top. Stumps are words broken by a hyphen so that the first half of the word is on one page and the second half is on the next. All these can look ugly, although sometimes you can get away with one if there’s enough text on the rest of the page – it’s very much a matter of personal taste what’s acceptable and what isn’t.

Get this line back or make it longer…

… but this is okay

All on their own… take these lines back or push a few more over…

… like this

You also have to look for section breaks in awkward places. If you have a section break, you want more than one line below it or it looks weird. And you don’t want a page with just 1 or 2 lines hanging in mid air and then the chapter end.

NB – most word processing programs have auto settings to get rid of these pesky widows and orphans. Turn it off. It results in short pages, which in a text-heavy book like a novel looks dreadful. Yes, you have to do this bit by hand.

How?

NOT by squeezing the fonts together – that looks awful. NOT by sneakily changing the point size or the leading – it shows. You have to alter the text itself.

Remember when I said this isn’t about the text any more, it’s about how it looks? That’s what I mean.

Close up paragraphs, make new ones, cut out extraneous words to pull a line back, add a few to push one over. If you have sub-headings (weird in novels but de rigeur in non-fiction) put one in or take one out. If there’s no scope to edit on the page you’re on, go back a page and see if you can do it there. Sometimes you may have to go back a few. And keep checking the results.

This is the drudge. You have to do this for every single page. It’s fiddly. And this is why you want to have established all your other design decisions before you get here. Because you don’t want to have to do it all over again. And this is why you need to separate your chapters with page breaks, so that any change you make is confined to just a few pages. If you use carriage returns instead of page breaks, every change you make will affect the rest of the entire book.

You might wonder how you spot all these things. I do it automatically because I’ve done it for years. I can read the text and see all these things at the same time. (Hell, I scan for them when I’m reading other people’s books.) I can adjust the text so that it’s true to what I want to say and also looks typographically acceptable. In fact, because I knew I’d have to do this, I made my last major edits of My Memories of a Future Life in PagePlus so that the text would be identical to the Kindle version.

If you’re not practised at this it’s best to do several passes through the book, looking for one problem each time, until you get your eye in. And this exhaustive level of nit-picking might be one of the reasons you decide to hand this part of the project over to someone who can do it much faster than you can, and more thoroughly.

Once each of your pages looks typographically beautiful, proof-read it one last time, remembering to check that your chapter breaks are consistent – and your text is ready to go.

If you have a Kindle book you’ll have a front cover but you won’t yet have a back one. And you’ve probably got quite enough to do for now – so I’ll tell you how I designed mine in a future post.

Have you released one of your books in print form? Did you do the production yourself? If you have any tips to add or nightmares to share, I’d love to hear them!

HELP IS AT HAND… If reading all this has given you an intolerable migraine, I can format your book for you! Email me on RozMorrisWriter at gmail dotcom.

My Memories of a Future Life: episodes 1 and 2 available now. Episode 3 on 12th September. Print edition end September. Do you like podcasts? You can listen to or download, free, the first 4 chapters

How to prepare your Kindle text for a print edition – Part 1: book size and typeface

While making an ebook is pretty straightforward, putting it into print is a pain. In traditional publishing houses, it’s an entire department’s job – because there’s a lot of invisible fiddling you need to do. (It used to be my job too, which is why I know.)

But it is possible to do it well, given the right instructions. I’ll walk you through what I did to get the text of My Memories of a Future Life ready for print. Be prepared – this will get pathologically nitpicky. And this stage is not about how the text reads – it’s about how it looks. Yes, to writers that’s the tail wagging the dog. Get over it now.

It’s quite a big job so I’ll split it in two posts. Today: choosing the size of the book and the typeface.

What size do you want the book to be?

Choose this first, because that governs how much you get on a page. Nail Your Novel is a short book at 40,000 words, and the first time I put it out was at 6×9. That made it look flimsy, so when I redesigned the interior I sized it down to 5×8 where the thickness and size feel just right.

My Memories of a Future Life, on the other hand, is a whopping 103,000 words. It would be rather chunky at 5×8 and expensive to produce because of the weight – which means I would have had to charge a lot more and everyone would think I was being greedy. Many literary novels are now being produced in 6×9 size, or even bigger – so it fits nicely with the genre.

If you use CreateSpace you can download a Word template for the interior. It sets up page sizes and margins so that everything looks right and you can do your fiddling in Word. Catherine Ryan Howard’s book Self-Printed has a detailed section on how to do this. There are other POD companies besides CreateSpace, but they’re not as easy to use. I used CreateSpace but with a design program, PagePlus, because it’s what I do my covers in and because my version of Word doesn’t make PDFs. (For CreateSpace and Lulu you submit your book on a PDF.)

PagePlus sets automatic margins as well, but the default ones are too narrow so I customise them. If you’re using anything other than CreateSpace’s template I suggest you check your margins too. They may have been set up for leaflets, not paperback books.

Before you finalise your margins, whack some dummy text onto the page, print it out and put it over an existing book of the same size to check it looks okay.

Important: get your margins right now. If you change them later you’ll have to redo a lot of tedious checking.

Text

When you formatted the Kindle or ebook edition you probably established a style for the book…. didn’t you? You’re consistent about when you use single or double quotes, proper em dashes and so on? You checked you had curly quotes and not ticks, including on the apostrophes? You’ve never thought about it? Go and fix them now. They’ll make your book look a lot more professional.

Typeface

Choose this next. And make your decision final. Every typeface is a slightly different width, even if it’s the same height.

Don’t use Times, it makes a book page look like a business proposal.

Obviously don’t use any of the fancy curly things that seem to have been supplied to design party invitations.

Get down a few novels in your genre (tastes in typefaces may vary between genres) and choose typefaces that look like them. I used Century Schoolbook BT for My Memories of a Future Life.

Italics: flat feet bad

Check what the font’s italics look like. A lot of computers come with the Roman version of fonts but not the italics, and when you hit the little I icon it slants them. True italics have curled serifs (the little feet), and slanted feet look wrong. If you haven’t got the italic version of your font there are free places to download it – I found my itals here.  Do this now too, for the mysterious tedium-avoidance reason I will explain.

Italics: curly feet good

Typesize and spacing

Most books are set in 12pt, or 11.5pt. Again, compare with other published books in your genre (for instance, literary can afford to go slightly smaller than YA).

If your book is 6×9 the page is quite wide, so you might want a bigger typeface or wider leading (space between the lines) to make it more readable. You can fine-tune this by editing the paragraph style – I set the leading as a percentage of the pointsize. So I had 11.5pt type on a leading that was a niftily precise 14.375pt – or 125% of the point size.

And each typeface has different properties. Some have tall ascenders and descenders (vertical strokes). So if you change from one font at 11.5pt it might look much smaller and less readable than another, so you might need to use it bigger. Before you finalise, print a page out and fold it around a book of the same size to see how it looks in the flesh.

When you’ve decided, run your text in and typeset it.

Part 2 tomorrow: chapter heads… and the really nitpicky stage

Have you released one of your books in print form? Did you do the production yourself? If you have any tips to add for this stage, I’d love to hear them!

HELP IS AT HAND… If reading all this has given you an intolerable migraine, I can format your book for you! Email me on RozMorrisWriter at gmail dotcom.

 My Memories of a Future Life: episodes 1 and 2 available now. Episode 3 on 12th September. Print edition end September. Do you like podcasts? You can listen to or download, free, the first 4 chapters