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Posts Tagged indie publishing
Did you use one of the Createspace ISBN? I want to be able to sell directly (like book signings) and wonder if it is better to buy the ISBN?
The ISBN is a unique digital identifier for a book (oh here’s the Wiki entry). Traditionally, publishers buy them in batches of between 10 and several thousand, and allocate them to each edition of any book – even ebooks. If you’re UK based you can get them from Nielsen, in the US from Bowker. CreateSpace offers you the option of a free ISBN or you can input one you’ve bought yourself. If you use the other main indie publishing print-on-demand company, Ingram Spark, you need to supply your own ISBN.
Your own ISBN or CreateSpace’s? The pros and cons
There’s a lot of emotional talk about whether you should buy an ISBN or use CS’s. Here are a few myths dispelled.
Doesn’t the book ‘belong’ to CreateSpace if you use their ISBN?
No it doesn’t. It belongs to you. You have the copyright. However, you are restricted about where you can have the book with that ISBN printed. See below.
CreateSpace will be seen as the publisher of record.
Yes it will. I’m not sure this makes any difference to individual buyers who are browsing for your book. If they’re trawling down the book details, liking what they see, they’re unlikely to screech to a horrified halt if they see it’s published by CreateSpace. They probably won’t notice.
However, the CreateSpace name may deter booksellers from ordering. But that’s not because the name is associated with Beelzebub Bezos, self-publishing or any other giant imaginary stigma. It’s because CreateSpace’s distribution terms (through Expanded Distribution) are not as favourable as Ingram Spark (Lightning Source for indies). CreateSpace discounts are not as competitive and delivery times are not as swift.
In the past, indie authors who published via Lightning Source (now Ingram Spark, remember) found their books sometimes showed ‘out of stock’ notices on Amazon. This has caused much hair-tearing, and mumblings that the big corporations were having some kind of squabble with publishers caught in the middle.
So now, many indies are now buying their own ISBN, printing through CreateSpace to sell on Amazon, then printing the same book (with the same ISBN, remember) to distribute everywhere else. Best of both worlds.
It all sounds good – except for the cost of ISBNs. In some countries they’re free, in which case you’re laughing. In countries where they are not, you’re not laughing. From Nielsen, you’re looking at £144 for 10. The unit cost is lower if you buy 100 (£342) but that’s rather too painful for me. Allocating ISBNs used to be a big administrative faff (I used to fill in the publisher’s forms when I was in charge of an editorial department) but now it could surely be automated and free. Don’t get me started, but I’d rather use that money for something that would benefit the reader, such as better cover art. Also, publishing on Ingram has a cost too, they charge for changes and the set-up is more challenging.
More on expanded distribution
1 So far, all my print titles have used CreateSpace ISBNs. Despite the distribution factors, this doesn’t stop me getting bulk orders every month for the Nail Your Novels. I can’t tell where they’re going, but they are being bought in bulk, somewhere. Maybe I’d get more bulk orders if I had my own ISBN and an Ingram version. Who knows?
2 According to Bowker:
Without an ISBN, you will not be found in most bookstores, whether online, or down the street from your house. Buying an ISBN is your first step to insure that your book is not lost in the wilderness.
This is true, of course. But even if books are on databases, and available at competitive rates, they sell zip without publicity. Bookstores get some of their stock because customers ask for it. But much of their speculative stock is books they order because they are featured in the wholesalers’ magazines, which is arranged by publishers’ marketing departments, or because a publisher’s rep called. So even with a shiny Bowker-or-Nielsen ISBN, the world is not your oyster. How much of a publicity campaign can you mount? Put another way, without a shiny Bowker-or-Nielsen ISBN you may not be missing very many sales because getting noticed is the most difficult thing of all. (Sorry.)
Short version, please
Sorry, Daniel. If you’re getting your paperback made for Amazon sales and direct hand sales, a CreateSpace ISBN will be fine. Certainly if you’re new to making books, use CreateSpace as your training wheels. Also, there’s nothing to stop you making a new version with your own ISBN, and uploading to CreateSpace and Ingram later on. You can change the CreateSpace settings to take your book off expanded distribution, so that the copy that reaches catalogues is on bookseller-friendly Ingram. You can also, if you have a really neat mind, disable the old CreateSpace listing by making the book unprintable, which takes new copies off sale although the old listing will remain.
As for me, I usually use the Createspace ISBNs. But I’m trying a new tack for the plot book. I’ve made a deal with a small publisher to put the book out with their ISBN. They get the book for their catalogue, I do everything else. I’m initially printing through CreateSpace, then seeing if a non-CS ISBN printed with Ingram Spark will give me any advantage. It would be nice if I could eat my pessimistic words about ISBNs. I shall report. 🙂
Thanks for the printing press pic Tadson
The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
‘On the twelfth day of Christmas my true love sent to me… Twelve drummers drumming, eleven pipers piping, ten lords….’ Is that too complicated for an opening scene?
Anything further to add? The Createspace/Ingram universe is changing all the time, the ISBN issue is one of the most divisive in the indie world – so comments and further discussions will be welcome!
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Take a long look at this cover for Nail Your Novel, original flavour. In the next few days, it’s going to have a snazzy new outfit.
Proverbs notwithstanding, covers are perhaps our most potent marketing tool, so I thought I’d talk to various authors who’ve changed theirs with good results. My panel are literary authors Jessica Bell, Melissa Foster and Linda Gillard, chick-lit author Talli Roland, and travel writer and novelist Catherine Ryan Howard
Why did you change the cover of String Bridge?
I changed it twice. The first time was because my publisher closed and I had to put the book back on the market myself. The second, because it didn’t seem to attract attention, so I decided to go for a more commercial look.
How long had you had the old cover? Both for six months each.
Did it boost sales or interest?
The latest new cover did. The difference was phenomenal. The first free KDP promo I did with the second cover resulted in 2000 downloads. The second, with the latest cover, resulted in over 20,000 downloads. The latest cover is obviously more attractive to the mass consumer.
Were there any other results? Yes. More reviews!
Any tips for the changeover? Look at the covers of what’s hot on Amazon in the same genre as your book, and try to replicate the feel.
Why did you change? To rebrand my books. Chasing Amanda sold very well with the previous darker, more mysterious cover, but it occurred to me that while Chasing Amanda is also a novel that tugs at the heart of most parents—-and perhaps it was time to try a cleaner, fresher look, giving readers a visual understanding of that side of the story. It will be interesting to see if the audience changes with the imagery change.
How long had you had the previous cover? My first book (published in 2009) had the original cover for almost three years. My second had the original cover for about a year before it was changed.
Did the change boost sales or interest? It’s always hard to tell what has caused a bump in sales when you do more than one thing at once. When I recovered my books to self-publish, I also put more promotions into play to promote them. Given that, I’d say the combination helped.
Any other results? I believe branding is important and so are professional covers. Traditionally published authors rebrand every few years to breathe new life into old titles.
Any tips for the changeover? I’ve changed all my covers and there is little to no impact on sales during the change. The paperback will go off sale for those few days while it’s being approved. The Kindle book doesn’t miss a single day; it’s live while you change.
Any time a cover is upgraded, try a promotion that was done in the past, then compare the results.
Why did you change the cover of Untying The Knot?
I was about to bring out the paperback so decided to reassess. I wanted to make it reminiscent of House Of Silence, which is my big seller. I’ve always assumed it must be the cover that sells that book, so we went for a dramatic sky and interesting building.
Untying The Knot has had brilliant reviews, but doesn’t sell as well as some of my others. It had a Marmite cover – people loved it or hated it – but most of the feedback was negative, especially from people who’d read the book. They didn’t think it represented the tone or content. Untying The Knot looks at the destructive effects of post-traumatic stress disorder on a marriage, but there are elements of rom-com mixed in with the drama. It was difficult to come up with an image to suggest all that. My original cover was a surreal image of a bride fleeing with a suitcase across a rural landscape but readers thought it suggested chick lit. I realised you need to make sure the cover of a mixed-genre book doesn’t give out a mixed message. That confuses readers and doesn’t work in that crucial thumbnail in ebook stores.
How long had you had the previous cover? A long time. Since August 2011
Effect on sales etc It’s too early to tell, but the feedback on Facebook suggests people think the new cover is more suitable and more appealing.
Why did you change the cover of Backpacked?
Backpacked was my second travel memoir, and as the first (Mousetrapped) had been so successful, I wanted to keep the brand I’d inadvertently created: scrapbook image on the bottom, nice blue sky picture on the top, white band with title etc through the middle. I have a deep-rooted and somewhat worrying need for things to match, so doing it that way satisfied that requirement as well.
But Backpacked didn’t sell as well as I’d hoped, and when I started examining the cover – really examining it – it struck me that this design did nothing for this book (although it had worked for the first). It actually looked dowdy and dull. So I decided to entirely revamp the cover, focusing more on the content of this book instead of how much it did or didn’t match the previous one.
How long had you had the old cover? Almost a year. (I had to look that up and I was actually very surprised it took me that long to change it!)
Did changing the cover boost sales or interest? Absolutely. And it was immediate. Now, Backpacked is probably my best-reviewed book, and I think that’s because it’s reaching the right readers. By changing the cover I caught their attention, and identified the book as something they’d like to read. It’s been out now since 2011 but continues to sell a steady amount each month.
I would say, though, that a cover change does not automatically generate new interest or boost sales. I had a shortlived self-published novel whose cover I changed and although sales were boosted initially, it didn’t make any difference in the long run. A new cover will only work if it’s the cover the book should have had all along. Change alone doesn’t contribute much.
Any tips? Very important: unless it’s a new edition (i.e. you’ve changed the content considerably), do not create a new book. I know that technically, if you change the cover, you should create a new edition but the headache is not worth it. I went through a month-long migraine when I brought out a new edition of Mousetrapped in 2011, and boy did I learn my lesson!
It is so much easier to go to CreateSpace, Amazon KDP etc. and upload a new cover file than it is to make a whole new book with both editions available at the same time, which is very confusing. You might also affect your rankings and reviews. Simply swap the cover files and keep everything else the same.
Why did you change the cover of The Hating Game?
My publisher and I noticed my book was linked on Amazon with others of a different genre (mainly crime), so we suspected the cover wasn’t reaching the right audience. My novel was firmly chick lit, yet wasn’t being sold with other chick lit.
How long had you had the previous cover? We actually had two other covers before the current one. The first we’d had well before the launch of the book, and the second was live for a few weeks.
Result? When we finally hit on the right cover, the novel rocketed into the top 100 on Amazon within a week or so.
Any tips for the changeover? Explain the reasons, to avoid confusion. Although we only changed the ebook cover; by the time the book was in print, we’d found a cover that worked. Make sure the new cover addresses the genre you’re targeting, too.
Paranormal thriller author MARY MADDOX has an interesting tale of how she changed the cover of her novel Talion because she’d originally used a photo she loved – but readers told her (some rather rudely) that it was too abstract.
Do readers get confused?
One of the questions I was most interested in was whether readers become confused. The general consensus was no. The Kindle store warns you if you try to buy a book you’ve already downloaded. And although you can buy paperbacks more than once, no one reported a dreaded disgruntled review for that reason. Jessica Bell says publication dates are clearly labelled, so readers can tell it’s the same book. And Catherine Ryan Howard points out that readers are already used to covers changing in traditional publishing. ‘A book will have one design for the hardback and another for the paperback, and bestseller authors with extensive backlists get cover redesigns regularly. If the title, sub-title and blurb stay the same, how could anyone make such a mistake?’
Cover designer Jane Dixon-Smith has two useful tips to add. ‘If you’re designing a cover for a sequel, make sure it matches in terms of quality and style Second, it’s important to change a cover if it’s an improvement to your image and the assurance of your quality and brand.’
You’ll have to wait a day or two while the new cover of Nail Your Novel worms its way through the works at CreateSpace et al. But don’t go too far because I’ll be back with an unveiling post AND a very special competition…
In the meantime, let’s talk about changing covers. Have you changed any of yours? Are you thinking about it? Are you happy with your covers, and why? Do you have any other questions you’d like to discuss?
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If you follow me on Twitter, Facebook or in Google’s Confusing Circles, you might have seen me celebrating when a bookshop reviewed My Memories of a Future Life – on Amazon. ‘I was so impressed’ (it read) ‘that I persuaded Roz to hold a signing…’
That’s a bit astonishing in the current climate, and the Alliance of Independent Authors were soon wanting the story of what I’d done to get into their good books.
Much of it was luck, I have to say – I clicked with their tastes. And I’ve had a hit and miss relationship with other bookstores. But if you’re contemplating approaching bookshops with your print editions, you might find my experience useful…
And tell me here: have you approached bookshops or other retail outlets with your work? How did it go?
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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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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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This time last year you might remember a certain note of monomania on this blog as I geared up to launch my novel. And perhaps creative chaos as I grappled with covers, blurbs and serialising the darn thing.
But I’d also been conducting a less obvious campaign – months of careful preparation to keep my credibility as I self-published my novel.
At the time it seemed necessary; a year on I don’t think we’re so stigmatised. That’s what we’re discussing in my post on Authors Electric today.
(Thanks for the pic BohemianDolls)
Tell me – there or here – what’s changed in indie publishing? Are we more accepted in some quarters of the publishing world? Where do we still have to fight harder to be recognised as quality writers?
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All this week, bestselling indie author Terri Giuliano Long is holding a ‘celebrate indies’ event and I’m honoured she invited me as one of the guest posters. (I’m going to be dragging her here for an Undercover Soundtrack soon, about her award-winning novel In Leah’s Wake.) And her timing couldn’t be better because this week the UK’s Guardian newspaper finally published a post admitting that there’s a lot of good to be found in self-published books. (If you think so too, go and tell them!)
In the meantime, here’s my rallying cry at Terri’s – and you can also find out why I consider this much-editioned novel is a beacon for the indie publishing movement.
Do you think indie authors are gaining credibility? Share in the comments!
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I’m addicted to those pieces in Saturday newspapers where writers show us round their writing rooms. The walls for Post-Its, the arcane but essential talisman on the desk, the flop-and-read area…. even if we all know that half our work probably happens in snatched scribbles at the Tube station, or in our heads while half-watching a film. Anyway, today I’m at Authors Electric giving the guided tour of my study, for those who are as nosy as I am.
Where are your special writing places? Tell me, in the comments here or at AE – and if you’ve posted about it, share the links!
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Put through my paces by Guys Can Read: literary writing, storytelling and the brave new world of indie books
Today I’m back at Guys Can Read, the weekly podcast books discussion hosted by Luke Navarro and Kevin McGill. Luke and Kevin adore fiction, period. They review everything from Jonathan Franzen to Star Wars novels, with equal expectations of great storytelling, strong characterisation and robust themes. They’re not afraid to pick apart what doesn’t work, regardless of how hallowed it might be, to venture into genres outside their usual tastes (which are pretty wide anyway) and to celebrate a darn good book even if it’s in a genre that’s normally sneered at. Kevin’s also just released his own rip-roaring fantasy adventure, Nikolas and Company: A Creature Most Foul, now available on Amazon.
I’ve been on their show a few times and was thrilled they wanted me along now that I’ve released My Memories of a Future Life. We started by talking about the novel but soon ventured into wider discussion. We nattered about aspects of literary writing that can get in the way of the story and characters. We talked about indie publishing – as a choice to connect more closely with readers, whether it’s risky for writers with an established career, and how readers and writers will in future be setting the publishing agenda just as much as commercial publishers. Oh, and whether I get away with opening my novel with a whinge scene. Come on over.
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Thank you, lovely readers and reincarnation time travellers. You can’t have episode 4 yet. Not for another week. But you can have episode 3.
fiction, indie publishing, Kindle, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, Roz Morris, self-publishing, writing life
- Personal journeys: 2 posts about writing Not Quite Lost and memoir – Joanna Penn and Clare Flynn September 18, 2017
- ‘Intense mystical dreams, an obsession with TS Eliot, and music’ – The Undercover Soundtrack, Vivienne Tuffnell September 17, 2017
- Editing as creative development – guest post at Ingram Spark September 14, 2017
- Bill Bryson, Lewis Carroll logic and cryonics – interview about Not Quite Lost at Andrea Darby’s blog September 7, 2017
- Readers’ reasons; writers’ reasons – do they ever agree? September 3, 2017
- ‘Things fall apart … hearts rip open’ – The Undercover Soundtrack, Caroline Leavitt August 16, 2017
- The end of exploration – on writing a book where you can’t make things up August 13, 2017