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Posts Tagged Lightning Source
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 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.
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
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!
authors, book marketing, booksellers, bookshops, Bowker, buying ISBNs, cost of ISBN, CreateSpace, Depth & Heart, first book, Fix and Finish With Confidence, free ISBNs, how to market a book, how to write a book, indie publishing, Ingram Spark, Lightning Source, making print books, My Memories of a Future Life, Nielsen, novels, print books, publishing, Roz Morris, self-publishing, writers, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, Writing Plots With Drama
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.
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.
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.
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.
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.
- 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.
What other warnings and tips would you add to my self-publishing 101?
Alive and sparking now on all ebook formats
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