How to un-self-publish: can you remove a book from self-published channels if you want to do something else with it?

I’ve had this question:

Can I free my book from Amazon CreateSpace? I want to seek a traditional deal. I published my first book a few years ago through CreateSpace. It’s a prelude to the one I’m now writing, and I am trying to find a publisher. Is there any way to free it from Amazon to match it to whoever I finally publish with? Sue

If you’re an experienced self-publisher you’ll know this is easy-peasy – so I’ll just say cheerio and see you next time. If not, read on….

Many writers might have an early book on a self-publishing platform, and now want to remove it. Perhaps to try for a traditional deal. Or to rework the material now they’re in a new phase of their writing life.

Here’s how to un-self-publish.

Do you have to ‘free your book’?

There are several aspects to this.

First: the rights. Big question: Are you allowed to unpublish the book and republish it elsewhere?

Let’s subdivide this further. Did you

• use the publishing platform directly, setting up your own account?
• use a middle man?

You published directly

The main direct platforms for print books are CreateSpace (which is now KDP), Lulu and IngramSpark. For ebooks, the main platforms are KDP, IngramSpark, Lulu and Kobo. There are also aggregators who send your books to multiple retailers – examples are Smashwords, PublishDrive, Streetlib, and Bookbaby.

If you have accounts with any of these, then you have complete control. You can remove the book yourself. Each platform has its own instructions.

So…. You don’t have to ‘free your book’. You are not under contract to these platforms. You simply used them as a printer. It’s not like a publishing deal. So you can do whatever you like with the book.

If it’s an ebook it will disappear from the sales channels.

If it’s a print book, the sales page will remain on Amazon but customers won’t be able to order it. There’s no way around this because it was assigned an ISBN so it forever exists in the limitless memory of book databases.

This might be irksome if you wish to bury the whole thing, but actually, it’s as good as buried. Only the cover, reviews and blurb will be visible to shoppers. In theory there might be second-hand copies available, though that’s unlikely. Even then, the system will probably help you as bots will know the book is scarce and will price the book at hundreds of dollars. (Really.)

So… although the book will look like it’s available, you can be pretty sure no one will buy it.  But you can look at the page from time to time and laugh.

You went through a middle man?

If you went through a middle man, such as a publishing services company, they will have handled the uploading process through their account so you’ll have to ask them to remove the book. They probably printed through the exact same channels – CreateSpace, IngramSpark, Lulu or KDP, so the process at their end will be simple.

They might tell you the book can’t be taken out of the catalogues or off Amazon, but they’re referring to the situation I’ve explained in the previous section. The book will be visible but to all intents and purposes, not available (except for a handsome, bot-inflated sum of $700).

Getting trickier…

But… there are cowboy operators in the self-publishing world. Here are two hitches to be aware of.

• Some 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. This situation won’t trouble you if you’re going to reuse the work anyway, or bury it for ever. (Here’s a post where I wrote more about this.)

Check the fine print of your agreement with them. With luck, everything will be straightforward. But if there’s a clause you’re unsure of, ask an expert at a professional body such as the Society of Authors or the Authors Guild. You could also try the Alliance of Independent Authors or Victoria Strauss’s blog Writer Beware.

Then…

Once you’ve freed the book, and you want to seek a traditional deal, what then?

A publisher probably won’t be interested in a self-published book if it didn’t do very well. Unfortunately! But if you’re substantially changing it, or re-presenting it as part of a bigger project, then it’s not the same work. When you query it, be clear about its history, and stress how your new use of it will be viable and different.

Lock up after you!

And don’t forget to block off the pathways to the book you’ve unpublished. Check through your blog, social media descriptions – anywhere you might, once upon a time, have laid a pathway for readers to find the book. There will be more than you think! Facebook, Instagram, Pinterest… unpick whatever you can.

If you have a blog or website, you might want to write a brief post explaining that you’ve now retired the book. If you have exciting plans for it, write about them. This will help make your site look current – readers are put off if they come to a site that looks unloved and out of date.

Good luck!

Thanks for the keyboard pic Ervins Strauhmanis on Flickr

And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

Print options and free books: two of my own rules I’m breaking this year…

In my last post I talked about publishing options in a changing world. Well, this year I’m reversing a couple of my own fervently held policies. So today I confess. (I’m an indie. I reserve the right to change my mind.)

Change #1 Putting print editions on IngramSpark

If you’re self-publishing, one of the main debates is which print on demand company to use. CreateSpace is free and has the most seamless interface with Amazon, which is where you’ll get the bulk of your sales because most of your marketing is online. But Ingram Spark has better distribution links with other outlets. And bookshops balk at ordering CreateSpace titles because the delivery time is slow and returns aren’t possible. So current wisdom is to buy ISBNs, print for Amazon only on CreateSpace, and print for other needs on Ingram Spark. (A lot more about this here. )

Why I didn’t put my books on IngramSpark

The Ingram Spark route isn’t free. You have to buy ISBNs (if you haven’t already). You also pay a fee for each book you set up. Revisions cost you more again. (However, if you’re a member of the Alliance of Independent Authors you get a discount and the revisions fee is waived. ) You’ll also have to modify the book’s print files. (The paper is thinner than CS, so your cover’s spine will be narrower. You might also need to tweak the title page with a new ISBN. None of this is difficult, but you might need expert intervention.)

The cost in itself isn’t that offputting – and it’s certainly not much compared with the cost of the book’s production. But it’s dumb to spend any time or £££s unless you’ll see a return – and that’s what made me dubious.

Although my book would be more easily available, how would it get seen? Just putting it in a catalogue won’t get it noticed by bookshop buyers. That’s like a tree falling over in a wood with no one to hear it. Shops don’t know about a book unless reps visit or the press makes hoopla. The bookshops I’ve been successful in are the ones I visit personally. All the rest of my marketing is online, and the sales funnel to Amazon. So, while I acknowledge that Ingram Spark offers better infrastructure, it’s for a market where I’m invisible.

What changed my mind

At the end of last year, I read this piece in The Bookseller. Ingram have acquired a network called Aer.io, which allows users to build storefronts and add ‘buy’ buttons for books in the Ingram catalogue.

Over the past few years, I’ve seen a lot of online bookselling portals, but usually you have to upload your book details yourself (or a publisher does it). Then, within a year, the venture goes the way of most start-ups, and vanishes. But Aer.io has a catalogue already – all the books already on Ingram, including IngramSpark. So every time anyone builds a bookstore with Aer.io, a reader could amble in from the internet and they could order my books. (BTW, I was directed to the Aer.io piece by the Hot Sheet, a publishing industry newsletter for authors from Jane Friedman and Porter Anderson.) Holy distribution, Batman! I’m making my Ingram editions as we speak.

Change #2 – a free book!

As you know, I have strong opinions about free books. Here they are.

Why I didn’t

See above. I didn’t think a free book would do much for me. My catalogue isn’t big enough to give a book away – although I have five titles, they’re for two distinct audiences. I can’t dash off a new one quickly – either the Nail Your Novels or a piece of fiction.

What changed my mind

It started with an email. Just before Christmas I was contacted by Goodriter, a daily deals site for everything authorly – books, courses, services for self-publishing, book marketing, copywriting, blogging, tutoring etc. It’s like Bookbub, but exclusively for writers (give or take a ‘w’). Goodriter invited me to contribute to a bundle of writer freebies.

I could see it was a great way to meet more readers, but did I want to give away a ‘proper’ book? Then I suddenly realised I could make an ebook shortie about characters as an introduction to my Nail Your Novels, which would be useful in its own right and an aide-memoir if you’ve read the big book. Anyway .. voila.

Once I’d sent the freebie to the giveaway, I had coffee with another author friend, who pointed out something I’d never realised about free books. They’re now such an established part of reading life that they find their way into retailers’ recommendation algorithms all by themselves, and get you visibility on lists where you wouldn’t otherwise be seen. ‘Put that book on Amazon, Smashwords et al,’ she said. As I was already half-way there, I did.

I admit I still have misgivings. I deplore the trend that pressures authors to give away their work. But the acid test is whether it pays me back in sales. That won’t become apparent for many months and I shall report. Watch this space.

And grab that free book before I change my mind.

Thanks for the U-turn photo Martin Howard

Over to you. Are you breaking any of your own rules this year? We are among friends. Come and tell me.

Indie authors: are you making these mistakes with your print books? How to look professional on the page

Contents pages can go very wrong. See below

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.

Front matter
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

Half-title page of Lifeform Three, showing a teaser for the novel’s content and a reviewer’s reaction. This is the first page the reader sees, so a good position for endorsements and a tantalising summary.

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.

A well-designed and useful contents page

Contents pages
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 whet 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.

Biographical details on the back cover of Lifeform Three

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.

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? 🙂

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