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Posts Tagged indie authors
Indie authors: are you making these mistakes with your print books? How to look professional on the page
This Friday, around 50 indie authors (including yours truly) will gather in Foyles bookshop in London’s Charing Cross Road to showcase their books as part of the Indie Author Fringe Festival. We’ll see some swish productions from experienced selfpublishers – but not all indie paperbacks look quite so slick.
Peter Snell, my bookseller friend and co-host of So You Want To Be A Writer at Surrey Hills Radio, is a staunch supporter of indie authors – but he often shows me paperbacks with rookie mistakes that scream ‘amateur’. So here’s our checklist of goofs and gaffes – and how to make sure your book passes muster.
Some indie books launch straight into the text, which looks rather underdressed. Why?
Look at the opening pages of any print book and you’ll see the following:
- a half-title page – this shows the title on its own, or the title and author name in the text font, or a brief (one-paragraph) introduction to the author and the book
- a copyright page
- a full title, maybe echoing the cover typography, with author name and the publisher imprint
a page that lists other works by the author
- contents page
- start of text
You might also have a dedication page before the text starts or a foreword (which is an introduction not written by the author).
On the other hand, some indie books dither around too much before the text, with pages of acknowledgements and biographical material.
The reader wants to get on with the book. So front matter should be concise and useful – eg contents pages, of which more in a minute. Contents pages go very wrong.
Right or left?
Certain pages have to be on the right, others on the left. Here’s that order again:
- half-title – right
- copyright page – left
- full title – right
- other works, dedication etc – left
- contents – right
- start of text – right
Yes, that’s two rights. If necessary, insert a blank page so that the text starts on the right. After chapter 1, though, you can start new chapters on a left. You’d have to go through mad contortions otherwise. But if your book is divided into sections (like My Memories of a Future Life) you want those to start on a right.
You don’t usually need a contents page in a novel. Does the reader need to know that chapter 11 starts on page 49? I draw your attention to Exhibit A at the start of this post.
If your chapters have titles of their own, you might list them to wet the reader’s appetite. But it’s not compulsory, and novels, memoir and narrative non-fiction don’t usually need contents pages.
Instructional and reference non-fiction, on the other hand, definitely needs a list of contents. Here’s an example of one that is helpful to the reader and also a good appetiser for the book. (It’s Reports from Coastal Stations by Geoff Saunders.)
Who’s the author?
Some indie books fail to give any information about the author. Readers like this context – who the author is, where they live, how many books they’ve written. If the book is set in a special world (eg the circus), this is where you reveal you were the offspring of trapeze artists before you ran away to study accountancy. If you’re writing non-fiction, readers need to know why you have the temerity to bother them with your opinions.
You might put this in the front matter, if you can keep it brief. Or it might be on the back cover. But don’t miss it out.
Speaking of back covers…
Back covers need to look properly furnished. Make sure you have
- a punchy summary
- an enticing quote, if possible
- author details, and preferably a picture
Other sundry howlers that stop your book being taken seriously:
- white paper stock for fiction, memoir or narrative non-fiction (better to choose the cream-coloured paper)
- squashed typesetting and tiny print – authors do this to reduce the pagecount and save costs, but it makes the book a chore to read (there’s more here on formatting your book for print)
- narrow margins, either around the edges or in the gutters (the central margin). Again these decrease readability, and if the gutter is too narrow, you have to break the spine to read the book.
- amateurish or unnecessary artwork. Tables and charts might be necessary in non-fiction, but probably aren’t in adult fiction. Maps and family trees might be helpful for certain genres of fiction, and facsimiles of handwritten notes or other ephemera might funk up a YA novel. But you might not need your aunt’s watercolours, unless a lot of your straight-talking friends agree they add to the book’s charm. (They usually don’t.) And covers are a whole subject by themselves. (More about covers here.)
- lack of an ISBN – CreateSpace and Lightning Source require an ISBN, and CS will issue you with one if necessary. But Lulu or local printers will let you print without them. Most readers probably wouldn’t notice if your book lacks an ISBN, but it really, really annoys Peter, who is still reeling at the author who had regained the rights to her work and printed 1000 copies without obtaining an ISBN. (There’s more here about ISBNs.)
- Peter also grumbles about books that are in a big or unusual format that won’t fit on his shelves. And cut-outs or holes in the jackets, because they catch on other books and get torn. (They probably also cost you more.) He does, however, approve of French flaps, which make a book more solid, though they’re not standard issue and most people won’t mind if you don’t have them.
So, to sum up. The well-dressed print book:
- has a complete set of front matter that is concise and helpful
- follows the conventions of right and left
- has a contents page only if necessary
- gives information about the author
- has an informative (and enticing) back cover
- doesn’t cram the page with type
Have I missed anything out? Or do you have any questions? Head for the comments!
If you’re in or around London next Friday, come and say hello at the Indie Author Fair, which is part of the Indie Author Fringe Festival in association with the London Book Fair. Entry is free, though you need to register and print out a ticket. More here. If you’re further flung (and even if you’re not) you can take part in Indie ReCon, from April 15 to April 17 – an online festival of indie movers, shakers, experts, veterans, trailblazers, and the odd person who was surprised to find themselves volunteered. You’ll find seminars, live chats and roundtables and …. oh just click this link. http://indierecon.org/indierecon-events/ To wet your appetite, here’s a video discussion from last year in which a few authorly types talk about how we tame our creative muse.
Barton's Bookshop, Charing Cross Road, CreateSpace, Foyles bookshop, Geoff Saunders, Indie Author Fringe Festival, indie authors, ISBNs, Lightning Source, London, London Book Fair, Lulu, making print books, Peter Snell, Reports from Coastal Stations, Triskele books
I’d completely forgotten I’d written this interview until it popped up on Twitter today. Whitefox publishing services wanted to quiz me about ghostwriting, my first writing gig and any tips I’d give to writers who were thinking of self-publishing. If you’ve known me for a while the answers will be old hat, but if you’re one of the recent subscribers (thank you!) and are still curious, here it is. If you’re wondering about your publishing options, you’ll find some useful tips here. And if you want advice on weighing up publishing services companies, these posts should help you make sensible decisions. And thank you, Whitefox, for inviting me to your blog.
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My guest this week says he’s always been particularly sensitive to music. Watching a film, the soundtrack won’t be background, but a commanding force. He spent two years studying at the Academy of Contemporary Music, hoping for a career as a performer. When that didn’t pan out, he returned to his other creative love, writing – and music helped to fuel his writing mood and suggest ways a story could go. He even has a ‘swagger track’ for days when he needs to drum up confidence in a scene or plot development. He is fantasy author and self-publishing zealot Ben Galley and he’s on the Red Blog with his Undercover Soundtrack.
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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, 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.
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.)
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
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?
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All the scribbling world is going indie. New, unpublished writers are, to establish themselves – even if they’re agented. And experienced, well-regarded authors are leaving their imprints – either being dropped or deciding to seek a better way to release their work.
While publishers are probably not short of new material, we know they watch the indie scene to see who does well. At the moment they pounce on the Hocking and Howey high fliers, but in a few years’ time they’ll have a different breed of writer to consider: the well established indie with a clutch of books and a growing audience. The kind of author who used to make up the midlist. I’m wondering, what deals would they offer?
For most of us it’s unlikely to be bidding wars. But one thing’s sure. It’s really going to test the industry because it can’t be a standard midlist deal. Most indie authors will have outgrown that.
Help with production
How much production help will a competent self-publishing author need? Of course, some writers loathe production and will be glad to hand it over. Others, though, relish the control (like yours truly) or will have it so smoothly managed that they’d rather hire the help themselves than hand over a bigger share to have it arranged.
A publisher might be able to offer an economy of scale – although they have often cut staff so much they are using the same freelances who are hired by indies.
Here’s an added complication. The book needs to look professional. How would a deal legislate for a situation where a writer’s production values look like a home haircut? Spin it the other way: what would stop a publisher vetoing an outside editor to keep the work themselves and accrue extra percentage points?
I’ve already made this more complex than I imagined. Suffice it to say: production costs will become a negotiation point.
Help with promotion and marketing
I’m guessing that one of the prime reasons for partnering with a publisher is to gain kudos, exposure and credibility in places we can’t reach by ourselves.
We all know that if a publisher pulls out all the stops they can make a huge difference to a book’s fortunes. But most of the time (ie if they haven’t paid big bucks for the author), they can’t afford to.
What most non-starry authors get is a few mentions in the national press. That can certainly send an indie author reeling with delight. But does it sell copies? The evidence is that it doesn’t. Most books don’t sell unless you keep them constantly on readers’ radar. A splash in the press is short term. Indie authors know they have to keep a sustained campaign of advertising and promoting. The midlist author launch package is little more substantial than a token cork-pop at the book’s birth. It won’t keep the book alive, month in, month out.
There’s worse. At the moment, when you sign a deal, publishers are often secretive or vague about what marketing they will do. They’re used to the writers being so overawed that they never have to explain what exactly will happen or how brief the publicity flare will be.
Indeed, it’s shocking how meagre a publisher’s marketing plan might be. One writer I know was asked for a list of blogs the publisher could contact to run posts about the books. Up until then, the writer had believed the publisher would use their own special contacts, not people the writer already knew about. Another author friend, after two successful books, was sent on a social media course. He learned nothing he couldn’t have gleaned from reading a few blogs.
However, many of my writer friends are excited about the Amazon imprints – even authors who feel they’re finished with traditional publishing. Why? Because Amazon have developed and honed an amazing machine for finding readers. What’s more, the algorithms can work long term with emails and targeted deals. That’s the kind of help we would all take seriously.
I haven’t even mentioned ebooks. As ebook formatting is one of the simplest things for an author to do or source, few of us will need help to make them. Where will a publisher add value? Publicity? The trouble is, their publicity machine is still wedded to print territories, whereas indies are already marketing on the, ahem, wordwide web. Perhaps publishers will start to think globally. Or perhaps ebooks will be left out of publishing deals with indies, as those markets may already be well served.
Getting copies into bookshops is one area where indies struggle – and traditional publishers are acknowledged masters. However, go into your local Waterstones or B&N and you’ll be bewildered by the acres of book spines. What’s the likelihood of someone finding your book by chance, even if it’s there? Except for prominent displays (which aren’t given to every author), publicity is what makes readers pick up a book or ask for it to be ordered – and indies can already get onto the wholesale lists at very little cost. We don’t even need to buy the ISBN. So it is my contention that well targeted, long-term publicity is more significant to an author than distribution to a lot of shops. Do feel free to disagree.
Help with development
It probably seems cockeyed to consider this last. We can’t deny that editors can add a vital nurturing influence. Although successful indie authors will already have their infrastructure for making a book good, few of us would dismiss the chance to do it better. Or am I dreaming?
At the moment a publishing deal is like a fixed-price menu. But the authors of the future will be savvy about publishing. They’ll look for equitable arrangements and publishers will have to be flexible for each situation. A la carte.
Publishers will also need to be more transparent. Right now the culture is to keep the author in the dark. A business relationship can’t be vague like that.
Ultimately a fair deal will take account of what each side puts in. Who, in a publisher, is equipped to strike a fair deal with the entrepreneurial author or their agent? The editors? They know about nurturing content, being its shepherd and handling production. But they aren’t skilled in converting this into workable contract terms and profit shares. And why should they be? That’s like expecting your plumber to be able to fix your computer. The other option is the contracts department. But they’re in a legal ivory tower, away from authors and the realities of book production or selling. It’s as if we need a new kind of job in publishers – a professional who can grapple with all of this.
UPDATE: To be fair, many editors do recognise the need for change. But they don’t necessarily have the skills, systems or company culture to reinvent their relationships with authors. They’ve usually got enough to do keeping up with their publishing schedule – having managed an editorial department I know the realities of getting books out, and how diktats often come from lofty management levels that are impossible to fulfil while making the daily deadlines. So this kind of change is going to take time.
One thing’s for sure. The current standard publishing deal isn’t going to cut it.
Thanks for the dream team pic Permanently Scatterbrained
Let’s discuss this brave new world. Do you self-publish? If a publisher came calling, what would you appreciate help with? What do you want to handle yourself? What do you think would make you attractive to a publisher in return for their help?
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One of the sweetest compliments a writer can hear is ‘I loved your book, please write the sequel’. And we live in a sequel-minded world. If there are any sure-fire ways to build a readership, a series is one of them.
So if people are asking for a sequel and you hadn’t planned one, should you consider it?
Certainly, a lot of hard work has already been done. You know the characters. Indeed, you may have had trouble shutting them away once edits were done. The chance to shake them awake again may be hard to resist.
You might have plenty of material. Outtakes that you pruned from the original novel, back story you wanted to work in but, mindful of pace or the reader’s attention, you cut. They could all be used, couldn’t they?
These are strong temptations, but they do not mean your novel should have a sequel.
Neither should you write a sequel because the reader has unanswered questions. At the moment, those are part of the novel’s resonance. If you answer them, would the magic disappear? Would your answers, in fact, be wrong now that this dimension of the book belongs to the readers?
What will create a story in your sequel?
Stories need a crisis. If you wrote a sequel, where would this new crisis come from?
In some genres, crisis comes with the territory. It’s a natural hazard of the characters’ job, heritage, world, race, DNA and dynasties etc. With those ingredients, your characters will have stories for ever more. Write them, and enjoy their rich variety.
Other novels, particularly non-genre, tend to be self-contained. The arc of the book was the defining experience of the characters’ lives. You wrote ‘The End’ when this was resolved, as much as possible. If you then put those characters through another story with a shift of similar magnitude, will that be hard to believe? And if the characters don’t have a fundamental disturbance, will they be interesting to read about? Remember, they’ve got to match up – or even surpass – the frisson of the original. But it can be done. Think Toy Story 3.
Should you reassemble the original cast? In a genre novel you might have a team who will always be thrown together. Indeed they might create a pseudo-family who give each plot an emotional core while they deal with the crisis du jour. At the end, they reassemble, tested, battered and wiser.
But in other novels, it may be better if the characters disperse. Daphne Du Maurier’s Rebecca has some perfectly ghastly sequels. Obviously licensed by the estate in an attempt to milk the fans, they squeal a warning for all would-be sequelers. They’re novels constructed by tick-boxes, contriving to drag the scattered characters out of contented retirement and flogging them onto the same treadmill again. In most cases they’ve already given their best, first time round. Leave them be.
So straight sequels may be dodgy, but you might have good mileage in a spin-off. While the principals from book one may be living a better-adjusted life, others could take centre stage. The original characters could be cameos to advise, steer, perhaps muddle everything up because the new crisis is not like the thing that happened to them.
Another possibility is to write the ‘missing years’ or a prequel. Perhaps one of your characters had an interesting interlude from far earlier in their life. Or if your original narrative was first person, perhaps there were other good stories happening around the corner.
Just one character
You might have a central character who still has a lot to offer. This is particularly true of catalyst characters, who stir up trouble but don’t change very much themselves. Throw them into a new situation and they will cause another maelstrom, just because. I get regular requests to write more about a certain catalyst character, who seems to inspire much speculation.
Not wanting to leave
Sometimes we writers want a sequel just as much as the readers do. But we have to take a look at what we would offer. After I finished with My Memories of a Future Life, I spent weeks doodling with aftermath scenes. They were indulgences, from a writer trapped in the deep end, struggling to surface. At the time, I intended them to be a continuation of the narrative but they went nowhere. The characters had stopped opening their hearts, as if what happened next was none of my business. Or perhaps I hadn’t found the right things for them to do.
It’s certainly possible that some of the Future Life people will rear up with a new urgent story. If they convince me that a lot more must be said and done, I shall write it without hesitation.
Until then, there are other stories I need to tell.
Are you tempted to write a sequel to your novel? If you’ve read sequels, what have you liked and what has made you wish the original was left alone? Share in the comments!
If you’re working up an idea for a novel, you might find some useful tips in my book Nail Your Novel: Why Writers Abandon books and How You Can Draft, Fix and Finish With Confidence. And in that case, I find I have plenty more to say and so a second Nail Your Novel is under construction. If you’d like information, sign up for my newsletter.
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I’m at Authors Electric today, discussing how indie writers are getting their work to readers by curating collections based on a solid respect for craft and originality. While publishers play safe with marketing pigeonholes, some of these indie groups will be the brands of the future. Come and see…
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I had an email the other day from a writer who wanted to hire me to critique his novel, and said he’d already had it proof-read and copy edited at considerable expense. He wasn’t pleased when I pointed out that his money had probably been wasted.
Most professional critiques will raise enough points for a major rewrite, so you need to be prepared for that. Paying to get your manuscript copy-edited and proofed before this is not terribly sensible.
But if you’ve never been through the publishing process before, how do you know when to hire what help?
Here’s a critical path.
1. Write, revise etc. Send to beta-readers. Do you need to have the manuscript proof-read for them? No. Just try to make it as clear of errors as you can. There may be a lot of changes to come. When they give you feedback, revise as necessary.
2. When the book is the best you can make it, hire a professional editor.
3. When you get the report back, allow plenty of time for an in-depth rewrite. You may not need this, of course, but too many first-time writers tell me they’ve allowed just two weeks to whack through points raised in my notes. But what if I said a couple of characters needed to be spliced together, a sub-plot needed to be strengthened, your novel’s middle had a sludgy bit where nothing happened, the relationship between a pair of characters needed more complexity, your dialogue needed more spice? Any one of those points would probably take you more than a few weeks to sort but these are typical problem areas. Even seasoned novelists might find a critique throws up a fundamental problem – and so they know to allow plenty of time for this phase.
Why couldn’t these problems be spotted by beta readers? Obviously it depends who your beta readers are, but they tend not to have the book doctor’s eye. They’ll react like laypeople and fans of the genre. They’re extremely good for highlighting places they’re confused, losing interest, don’t believe what’s happening and characters they like and don’t like. But not for the real diagnosis and surgery.
4 Once you’ve rewritten – and preferably run the new version past some more readers, you’re ready for copy-editing.
What’s copy-editing? It’s checking the niggly details. Does Fenella always have blue eyes? Have you got a consistent style for spellings and hyphenation? Are the facts straight, as far as facts are relevant? Does the timeline work? Do any characters accidentally disappear? Are passages repeated from the inevitable cutting and pasting that went on in all the editing phases? As you can see, there will be a lot more changes from this stage. So sort all these questions out and only then…
5 …. proof-read or hire someone to do this. Proof-reading is for the final text, when you are ready to publish.
Another big mistake authors make is to get their cover designed too early. Yes, it’s so exciting to have a cover; believe me, I know. It means you’re Really Going To Publish It. But your cover must reflect the emotional promise of the book.
With some genres that will be easy because the story elements won’t change, but if your thematic emphasis might, you might not be fit to discuss covers until you’ve done your post-critique rewrite.
Don’t get your cover designed until you’ve made a final decision about the title. The title is part of the visual design, and a designer will position pictures, textures and so on so that they fit with the shape and size of the words. The images might have been chosen to go with the words too. If you change the title, chaos beckons (and probably more expense).
Once you’ve made the decision to self-publish and do it properly, it’s easy to panic about things being rough. But don’t rush to complete too quickly. Use my schedule to make sure you’re not putting the cart before the horse.
Do you have any advice to add? What mistakes do you see writers making when they hire professional help? Have you had to learn the hard way yourself?
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. You also might like my multimedia course with Joanna Penn – more than 4 hours of audio and slides with an 86-page transcription – find it here.
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Are you fed up with established, old-school-published writers complaining about self-publishing bloggers in the national press? I think it’s time we celebrated the well-informed, curious, generous, adventurous, innovative, pioneering, rule-busting community we’ve built with all our blogs, websites, podcasts, Facebook groups etc. If you think so too, come over to Authors Electric, where I’m posting today, and say ‘aye’.
(Or if that’s a click too far, say it here :) )
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Last week I posted on Terri Giuliano Long’s site The Art and Craft of Writing Creatively and in the comments got into discussions about where indie publishing is heading. One of the commenters was Daniel Marvello, who afterwards sent me this email …
You said, ‘2012 will be the year we organise ourselves with quality control’. I love that! And I’d love to know what was in the back of your mind when you wrote it. What do you see changing in 2012?
(As you see from Daniel’s picture, he’s fond of the crystal ball.)
What was in the back of my mind? No big plan, unfortunately. I can see this is what we need, but I haven’t a grand solution. But there’s no better place to talk about it than on my blog with you guys.
For those of you who’ve sat down late, 2011 was the year when many high-profile fiction writers with respected followings went indie, and gave good reasons for doing so. Before then, if you self-published fiction you risked nuking your credibility. But it’s also led to a rash of people uploading to Kindle or CreateSpace or Smashwords but not taking care about quality. Result? It’s raining slush and nonsense. Readers who’ve bought unreadable books are muttering ‘vanity press’ all over again.
Where does quality control come from in traditional publishing? From skilled professionals. Authors don’t do it on their own. Here’s Daniel again:
Most authors ignore advice to get an editor now. What might change that? What will prompt authors to let another set of eyes look at their manuscripts before they click “save and publish”? Can something be done to make such resources more appealing or easy to acquire and use?
The way I see it, there are two issues to address with quality control:
- production – putting out a book with no grammar howlers, formatting glitches, funny typesetting or misprunts
- whether the content is good enough.
One problem is very much easier to solve than the other, but let’s eat this elephant one bite at a time.
Why do indie books fall down on production quality? Several reasons.
1 – Indie authors may not know what’s done to a book in traditional publishing. They might have heard about the artistic side of editing – the developmental work to strengthen the story and literary quality. But they frequently don’t know about all the other trades who wade in once the words are right – copy editing, proof reading, text design, cover design, ebook formatting. Take any debut author who blogs and at some stage they’ll pen a gobsmacked post about how much checking and polishing goes on.
What might change this? We tell people, as often as possible, how much work goes into a published book. You don’t always need separate experts, but these jobs all need to be done. They’re not an optional extra.
2 These services cost money. Personally if I was new to publishing and someone told me I needed to pay for all that my reaction would be ‘pull the other one’ – especially as publishing on Kindle and Smashwords is free. But even when you do decide you’re going to invest, how do you find a reputable pro? Authors have always been easy targets for scammers. Not only that, there are hordes of people setting themselves up as editors when they haven’t the experience.
What might change this? Writers need to find out where the professionals go. A good start might be author groups – for instance, at Authors Electric we’re setting up a list of people we’ve used and would happily use again.
3 Some people simply refuse to be told. If I go into the reasons we’ll be here all day, but there are a lot of those. (You, my friends, are not, or you wouldn’t be reading this blog.)
What might change this? Confiscating their laptops, probably
Now that last remark may seem facetious and unnecessary, but it underlines a point. As indie authors we have to do everything we can to rise above the trigger-happy Kindlers, because they make it hard for the rest of us to be taken seriously.
Not just presentation
So we can lick production quality. That, as I said above, is the easy part. What about the content, the artistic merit? In traditional publishing, the lame books are rejected and the good ones go through a developmental stage. (Yes terrific books are rejected too, but the author is usually made well aware that they were good.) This brings me to another interesting question that Daniel raised.
If people won’t use editors, can we realistically replace them with critique groups and beta readers?
ie, is it possible to get all this input free?
Sorry, guys, I don’t think it is. In the real world that doesn’t come free. Agents and publishers do it as part of their job. Critical feedback of that type takes experience and judgement.
Critique groups and beta readers will give very valuable input, and should definitely be used as well. But they aren’t a substitute for professional critical help – they cannot give your book close, considered attention. I’m not advertising myself here, but when I critique a manuscript the work takes two concentrated weeks at least, with plenty of time taken to consider what the writer wants to do and how I’ll teach them what they need. (In fact, if you imagine your normal rate of pay for two weeks’ work, an editor’s fees start to look cheap. And it’s also why you can’t expect anyone to do it ‘on the side’.)
And another thing
There’s another issue we need to address with quality control. It’s letting good work rise on merit.
If you can have buyers’ markets and sellers’ markets, indie publishing is a marketers’ market. If you’re good at marketing, your book rises higher. But a lot of cool, exciting and original books aren’t getting the exposure they deserve.
Indies are starting to tackle this in author collectives – groups to curate the good authors. And proper, critical review sites where indie books are expected to be as good as anything traditionally published. Authors are already taking this into their own hands – Tahlia Newland with Awesome Indies, Authors Electric with Indie ebook Review, Multi-Story, Underground Book Reviews, The Kindle Book Review.
But each group or review site is only as good as its critical scruples.
Does this look familiar? It’s a system of gatekeepers. But hopefully, ones motivated by editorial integrity.
Here’s what we really need to do. Ultimately we need to reach readers way beyond our own little blogosphere of indie publishing. We need to win the respect of the major book reviewers, because right now we’re preaching to the choir, and this is not sustainable.
It seems a natural moment to mention that my novel is up for the Summer Reads awards at Underground Book Reviews. The winner is decided on a vote, so if you’d like to tip the balance in my direction I’d be very grateful.
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