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Posts Tagged how to publish
A while ago I was at an author event about book publicity. Finding magazines, blogs and broadcast media that will review our book or interview us. How do we do that? The first thing to do, said my friend Ben Cameron of Cameron PR, is to get the right mindset. Think of it as creative. And fun.
Afterwards, I fell into conversation with Tina, who didn’t see it as fun. She said: ‘I don’t feel comfortable putting myself out there. Asking people if they’ll interview me or feature my book. I just can’t. How do you do that?’
I’d just been conducting my own campaign for Not Quite Lost. It went better than I expected. I managed to pitch successfully to bloggers, mainstream print magazines and BBC radio stations. The first time I pressed Send I had to gird my courage, but after that it didn’t feel embarrassing.
I told Tina that. She wasn’t convinced.
This interested me because Tina wasn’t exactly a mouse. She taught workshops. She controlled groups of creative people and made them do stuff. She was also a playwright, and accustomed to plain-speaking feedback from actors and directors. Yet she was saying: ‘Asking for publicity … it’s like walking into a roomful of strangers and trying to talk to them. Don’t tell me you find that easy?’
I agreed I didn’t. Not remotely. ‘But that other stuff is different.’
‘Why?’ asked Tina, which made me think.
Obviously, you get used to pitching. You learn that magazines, newspapers and radio shows are looking for material. They don’t open your email and cackle at your ridiculous hubris. You’re all in a day’s work. They actually hope you’ll match their requirements.
But the biggest realisation – the one that let me pitch without a qualm – was the realisation that none of it, actually, was about me. I was not seeking attention for me. It was for my books.
So it’s not about you, tiny naked vulnerable mind being dragged into a big bright light to explain yourself. It’s not even about personal confidence, whatever that is. It’s about confidence in your work.
This week I had a book club event for My Memories of a Future Life. It went well, but last night, I had the anxiety dream. In it, I was talking to a presenter from BBC radio who said: ‘I think I’ll cancel this interview. I don’t like you very much.’
And this is the thing. Whether we’re seeking publicity or releasing a book, it will always take a little of our skin. But I think this is like the anxiety that puts a performer on their mettle, or makes a doctor careful with their responsibility for a human life. It’s unavoidable, so we might as use it as a strength.
Though I still have problems walking into a roomful of strangers – and had reason to consider this in my latest newsletter.
Give me your thoughts!
At school, I wrote science fiction stories because it made my teachers supremely annoyed. That probably set me up well for my attempts to get an agent or a publisher, when I annoyed with stories that bent and mixed genres. And why not, when it was good enough for Atwood, Banks and Ballard? And the magic realists?
Today I’m at the blog of Jane Davis, one of my co-writers in the Outside The Box collection, answering questions about what I write and why, and how self-publishing began for me as a last resort and became the most positive step I’d ever taken. How times change, you might say – but we also discuss whether self-publishers are truly gaining more legitimacy or whether there is further to go. I think the latter. There are still barriers and indie authors are still treated discourteously.
Did I really use the word ‘discourteously’? I did. Do come over.
This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
1 Whether you intend to go indie or not, learn about selfpublishing
– then you’ll know how to weigh up the value of a publishing deal. As well as the money (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But if you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 It isn’t either-or.
Whether you start as indie or traditionally published, you won’t always stay that way.
Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might reissue their backlist or publish in co-operatives with other authors. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project. Some publishers are experimenting with partnering deals – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.
Thanks for the pics, Official US Navy Imagery, Joanna Penn and London Author Fair
What advice would you give to the 2014 writer? Let’s share in the comments
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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.
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.
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!
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 …
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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.
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- Writing memoir, taking control, long-term careers – talking to Victoria Dougherty about the 21st century author October 20, 2019
- What your readers will never notice… a small point about reader belief and story logic (with a little help from Terrance Dicks, Rod Hull and Nina Conti) October 13, 2019
- 7 writing resources I use all the time October 6, 2019
- My kind of weird, my kind of wonderful – interview at Davida Chazan’s blog September 11, 2019
- How to outline a novel – post at Ingram Spark September 8, 2019
- 7 swift storytelling hacks for back story, description, dialogue, exposition, point of view and plot August 18, 2019