Posts Tagged self-publishing

‘After 13 books I became a real author’ – guest post at Helena Halme

helenaThere’s been quite a fuss about self-publishing on internet channels recently. Brit author Ros Barber swore in The Guardian that she’d never self-publish her fiction, which prompted a lot of us to reassert why we did. This post by me appears to join the general howl, but in fact it was commissioned several months ago.

It’s at the blog of Helena Halme (and in case you’re counting the nationalities, she’s Finnish). Topical or not, I wanted to make the case for self-publishing as a serious option for authors of independent mind and spirit, who can be their own creative directors.  Do come over. It’s just a click. You don’t have to go all the way to Finland.

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Editing seminar snapshots: How much should you budget for editing your book? And how should you choose an editor?

w&alogoThis very good question came up when I spoke at the Writers & Artists selfpublishing summit a few months ago. And my answer… deserves a post.

dollar-1071788_960_720First, there seem to be two modes for charging: by the hour and by the wordcount or page. With the wordcount, writers can be quoted a fixed price, so everyone knows where they stand. With an hourly rate, it’s much more difficult for the writer to know how much they’ll be spending.

The convention seems to be that developmental editing is quoted by the wordcount or page, and other phases are priced by hour. Here’s a post that describes the different editing processes and the order to use them in.

Second, editors set their own fees. Does a low price indicate good value? It might if the editor is starting out and doesn’t yet have a reputation. But might they also be lacking in experience? Indeed, might they be a complete amateur?
Conversely, if an editor’s charges are high, does that mean they’re good?
I think everyone can see it’s a buyer beware situation.
How do you tell? Here’s how to navigate the maze and spend your ££$$ wisely.

Establish that the editor is right for you.
For developmental edits, you need a specialist in your field. I would be useless to a fantasy author because I don’t read fantasy. But I can edit its close cousin, magic realism. I can’t edit genre romance of the Mills and Boon variety, but I can edit any number of stories that feature a romantic relationship. So find out what if their tastes are in tune with yours.

Find out where they got their experience.
There are a lot of people setting themselves up as editors. Are they just someone on the internet who’s been to a few critique groups and thinks they can edit? Are they writers whose only experience is helping out their friends? They might be great – everyone has to start somewhere – but they might not at all.

The best editors will have done the job for publishing houses or literary consultancies. Even if they mainly work with indie authors or authors who haven’t yet published, they’ll have that background.

Fiction, non-fiction, memoir, narrative non-fiction?
This may seem obvious, but make sure your editor has developmentally edited your kind of book. If they’ve chiefly worked with non-fiction, or even scientific and technical books, they might be too pedantic to allow for the artistry in a more narrative manuscript.

5730710531_07b49820e8_zThe fussy quotient: will the editor’s approach suit you?
Do you want an editor who’ll be good at explaining how to fix problems? This is where an edit from an experienced professional is far more useful than a critique group. Your beta readers might say ‘the characters are thin’. A good editor will identify why and offer suggestions for fixing it. They’ll spot other potentials in your book too – which you may be surprised about.

Why do charges vary so much?

There are various industry recommended rates (see Writer’s Market, as quoted by Writer’s Digest here), but developmental editors have to set their fees according to how long a project takes them. I spot a lot in a manuscript, so the work takes me more time than it takes a less pernickety editor – because I find there are a lot of points I need to raise. Some authors are eager for this, and some aren’t. Do you want an editor who will approach your work in that depth? You might not. But you’ll pay according to the depth of the work.

Should you ask for a test edit of a small portion of your book?
Opinion is divided. Personally, I’ve never had to do a test edit. All my clients have hired me after an email conversation. But they’re not acting on blind faith because I can demonstrate my approach and degree of thoroughness from the posts on this blog, my books and my video interviews. Some editors might offer a test edit, or they might have a pre-prepared sample that illustrates the kind of comments they make. Be worried, though, if they send a report they wrote about someone else’s book; that should stay confidential.

Copy editing and proof reading

sidebarcropThese are less specialised, and tend to be charged for by the hour. How long will it take to edit or proof your book? It depends what shape the manuscript is in. The copy editor has to take charge of consistency and clarity. So if your use of language is imprecise, the copy editor will have more to do. If your plot is complex, and especially has a lot of time shifts or locations, they’ll have more checking to do. If you’ve been woolly about any of these details, you’ll multiply their workload.

Should you ask for a sample copy edit or proof read?
Unfortunately, a sample is no gauge of how long it will take to do the work because the second half of your book might fall apart, and the copy editor will have to hammer it together. I recently copy-edited one 50,000-word book that took 50 hours, and one that took more than twice that time. What I tend to do is to charge in blocks of 20 hours, then keep the author informed of progress so they at least have a warning of the cost.

So… how much?

But I still haven’t answered that question: how much will editorial services cost you? For a 50,000-word novel, budget GBP£1000-2500 for the developmental edit, the same for the copy-edit and the same for the proof-read. Minimum probably £2000 if your manuscript is really clean. Maximum (depending on the quality of the editor and the manuscript) £7500.

tuition2Phew, that looks like a lot, doesn’t it? If you were traditionally published, you wouldn’t see these costs, but this is part of the publisher’s investment in your manuscript. And yes, there are people who manage to produce good books on a much smaller budget (I have tips here on low-cost options for getting good help ). The sums can be a bit of a shock when the rest of our writing activity seems so cheap and free, unlike, say, skiing or learning to fly. But I hope this post has helped you to see how to get good value.

POSTSCRIPT I’ve had a few emails since I published this post, so a clarification might be helpful.

One reader remarked that copy editing and proofreading don’t usually cost as much as developmental editing. Generally, that’s right. The costs all hinge on how much time the editor has to spend, and that’s related to how much has been done to the manuscript after each stage. But in real life, if a developmental edit leads to a lot of rewriting, that might leave a lot of  tidying for the copy editor. Once we get to proof-reading, it should be a fast and final read with minimal changes … but again if a lot has been altered this will slow things down. I’ve had manuscripts where so much had changed after the copy edit, that the proof read was in fact another copy edit. Which is why I made the point that everything hinges on the cleanness of the manuscript.

Thanks for the money pic, Pixabay and soccerlime for the scrumpled page

Any questions? Fire away!

BTW, my Nail Your Novel books are distilled from the issues I most commonly find in manuscripts. Much much cheaper than getting me in person!  Nail Your Novel: how to write a novel

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

2989166090_f5b8087687_zIn my last post I talked about publishing options in a changing world. Well, this year I’m reversing a couple of my own fervently held policies. So today I confess. (I’m an indie. I reserve the right to change my mind.)

Change #1 Putting print editions on IngramSpark

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

Why I didn’t put my books on IngramSpark

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

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

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

What changed my mind

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

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

Change #2 – a free book!

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

Why I didn’t

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

What changed my mind

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

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

instant fix characters sml

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

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

And grab that free book before I change my mind.

Thanks for the U-turn photo Martin Howard

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

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Equality in publishing: gender is not the only agenda

4041668533_2d4daee55d_zRecently there has been much ado about gender inequality in publishing. In The Bookseller, Cathy Rentzenbrink wrote about two literary prizes whose shortlists were dominated by male authors, and argued this as the tip of a deeper rooted problem, which then became the subject of Porter Anderson’s Futurechat on Twitter.

Ms Rentzenbrink particularly drew attention to the fact that the Goldsmith competition aimed to celebrate fiction that is, in the words of its press release, ‘audacious and original’. As she said:

‘So that’s 18 books singled out for praise in the space of a week only one of which was written by a woman. Why is this? Are women incapable of writing audacious and original fiction? Not much cop at sharing their experience of the world?’

But something seems to have been missed as everyone joined the uproar. There it was in the Goldsmith prize rules, bold as brass. Self-published novels are not eligible. Check it for yourself.

self-published books are not eligible

(I can’t find a list of rules for the Samuel Johnson prize, which Ms Rentzenbrink also cited and accounts for her total of 18. Update: an enterprising commenter found a cached version. The Johnsons do not exclude self-published books, so no argument there. UPDATE April 2016: a Twitter friend tells me she talked to the Samuels Johnson, who told her they do exclude self-published books.)

Gender lottery

Now, we’d probably all argue that the gender line-up in the final shortlist is most likely a matter of chance, not conspiracy. Ms Rentzenbrink felt it was a symptom of a wider attitude problem.

And I contend that this exclusion of self-published books is another.

Especially from a prize whose goal was to find ‘audacious and original’ fiction. Because they are more likely to find it from indie authors than from the output of traditional publishing.

But the crap, Roz

Now yes, some indie fiction is unripened. Inept. Hobby work. Personal therapy. All possible literary sins can be seen in self-publishing – but self-publishing is also where you find original, finely honed work that should have been on a publisher’s list if market economics allowed. (NB: anyone quoting this line had better include its full context or I will smite them with my hairdresser’s zombie homage to Ulysses.)

Ms Rentzenbrink’s discussion of gender is a call for equality and fair chances, to judge a book and a writer on merit and nothing else. So while the industry beats its breast about the gender thingy, it should also address the exclusion of independently published fiction. Double standards are rather unattractive, aren’t they?

Indeed, like Ms Rentzenbrink, I can show that this prejudice against self-published authors goes further than just a few competitions. Some quarters of the publishing world still dismiss it as vanity press. I’ve written in a recent blogpost about how the Royal Literary Fund dismisses applications from authors who are not ‘commercially published’, as they put it. (You might wonder about their imprecise use of the word ‘commercial’ here. I certainly did.)

I thoroughly support the upholding of standards. Crikey, that’s how we pull ourselves up from our first amateur efforts. But we need to ask how quality should be judged.

A spectrum view

This question will become increasingly significant in coming years. There will be many more authors releasing their books in new ways. ‘Totally self-published’ and ‘totally published’ will simply be opposite ends of a long spectrum. Indeed they already are.

There follows a brief diversion into details that may be familiar if you’ve known me for a while. I shall render it in brackets so that you may skip if you wish.

(Some of us authors are publishing professionals as well as writers. In my case, I ran an editorial department for three years and trained other editorial staff. I teach writers how to bring their novels up to publishable standard, and I’m rigorous about it. Ask any of my editing clients. Ask The Guardian. I am every bit as qualified to make good publishing decisions as, well, a traditional publisher. I treat my own work just as ruthlessly, as a matter of pride in my art and respect to the reader. Rant ends.)

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In which I invent two new buzzwords

In the coming years, increasing numbers of significant books will be produced with these new models. This is an age of options.

So far, most of the discussions about successful self-publishers have concentrated on business. But fiction is an art too. Just as film has writer-directors and auteurs, and music has singer-songwriter-producers, we will see the self-published author who is characterised by a strong creative vision and artistic proficiency. Just as we’ve seen the rise of the author-entrepreneur, we will also see the rise of the author-director, the author-auteur.

Phew, I didn’t know I was going to write that. I might have invented a new monster.

Back to the Goldsmiths competition exclusion. We should be as committed to seriously tackling this issue, this blindspot, as we are to scrutinising gender prejudice. It has just as much potential to unfairly disadvantage authors whose work deserves critical recognition.

So what are the objections to including indie authors ?

There seems to be only one, really.

But the crap, Roz

Yes, there are so very many books.

Clearly there has to be a sensible method of triage for competitions, professional bodies etc. But here’s a suggestion. Judges and gatekeepers, you don’t have to read all of every book. You do as any sensible reader would – read the opening. Do the page 99 test. If that’s not good enough, no reader would continue. Throw it out. Pick up the next book. Then read the real contenders properly.

There’s nothing to be afraid of.

Thanks for the pics Dino Talic and Elliott Brown on Flickr

Or is there? What might I have missed? Let’s discuss.

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Writers, stay true to your standards. Long night of the literary soul

3564583787_d0faf36e54_b‘There’s never been a better time to be a writer.’ I’ve seen this mantra frequently over the past few years in blogposts, conference reports and news items. And I don’t disagree there’s been a lot to celebrate.

But from what I see right now, this time is also tougher for authors than ever.

Indie authors feel it in their book sales. Hands up who is in a forum where the chief discussion is ‘what can I do about my dwindling sales?’ ‘Anybody else had a dismal month?’ ‘Should I drop my book’s price, put it on Kindle Unlimited, write something more popular, send out more emails, spend $$$ on a marketing course?’

The traditionally published authors I know are faring little better, with shrinking advances, ill-supported launches – even the authors who have awards to prove their worth.

Last week I was having an email conversation with a wise author friend. As we confided our worries and frustrations, I felt we were describing the state of the author 2015, and were probably echoing many other conversations going on behind closed doors.

So I thought I would open those doors. Come in. Come and see how authors are thinking about their careers right now. And see why, in spite of the rotten state of the book market, we keep the faith and stay true to our standards.

I have permission to quote my friend’s words, but he wanted to remain anonymous. So we’ll call him Oscar, in honour of the internet tradition of attributing everything to Mr Wilde.

…………

Oscar: I’m looking forward to Ever Rest.

RM: It will be a while before Ever Rest is fit to show. When it is, I’m going to look for a new agent. It’s so desperately hard to get fiction noticed, especially if you write odd-lit like me. I have friends in mainstream publishing who give me furious pep-talks about how I’m on a hiding to nothing by publishing literary fiction as an indie. Even my own husband says it. And they’re right. I need a way to prove myself to the serious reviewers and opinion formers.

An example. I recently applied to the Royal Literary Fund for a grant. I’d been assured by another sponsored author that they would consider a writer who had published two literary novels, but when I checked their rules I found they excluded self-publishing. Nevertheless, I wrote explaining my background, teaching credentials, why I’m indie (more about that here ). Their reply was ‘you haven’t commercially published sufficient work’ and they refused any further discussions. This is the hole we find ourselves in, trying to get indie-published work recognised.

Oscar: You’re a smart lady to be looking for an agent. I’m beginning to think the biggest part of the indie movement is to smack the big machines into better behaviour. They have the money and power to do what we cannot do.

The tides will turn. I watched it happen in photography. Just please keep doing what you’re doing. It’s needed. Without people like you, we could lose literary writing in this mess. And it is a mess. I can’t believe some of the things I’m reading from authors who make big money.

RM: Speaking of which, you’ve no idea how many people who say to me ‘can’t you just toss off a series to get some bestsellers’?

Oscar: I tossed off a series – and then I pulled the books. I felt dirty.

I have an agent friend. In 2014 he was flying high, making sales, getting high-profile assignments, negotiating foreign rights. He said all of that is over now. It’s hard to sell *anything* to a trad house because we’ve lost our attention span for long form. Everybody is on Twitter. No one has the time to read. He has always been a force of nature, enormously talented, confident that he can take on the world. This throws me for a loop.

I check in on Kindleboards now and again. Yesterday I saw an author who started out making $13,000 a MONTH on four poorly written books say she’s now ghosting for other indies to make ends meet. Another author posted about the publication of his new ‘novel’, which is 117 pages long with lots of white space (probably 15K words) and selling for $2.99. Everyone was fawning over him and his swift production.

I saw Joanna Penn remark that we aren’t in competition with each other, but with so many other forms of entertainment. People do *not* sit still for long, unless they’re binging on Netflix for hours on end. How are we to compete with that?

Some authors are doing exceptionally well. They crank out a book a month and direct it at a very young audience that does not yet know the value of a dollar. I know scads of young adults, and they read copious amounts of books, but they’ve got to be free. I nearly blow an artery when I hear them say how poorly written the books are, how many grammar and style errors there are – but they don’t care.

As for craft and quality, in one forum I saw people asking others to stop putting out junk. The remarks degraded, as they always do, to people defending the ‘raw’ writing their fans demanded. Many admitted to using no editors at all, claiming it took the edge off.

RM: [Unprintable. Gentle reader, don’t ask.]

Oscar: My agent said there are precious few of us left with the attention span and appreciation of finely crafted work, and we need to hold on to each other dearly. That’s all fine and well, but how much longer can we continue buying each other’s books?

But it’s not all doom. My partner and I are deeply involved with theatre and have watched that die a slow death, and even Masterpiece Theater removed ‘Theater’ from its name so people won’t get turned off by it. We hang on because it is an eternal artform waiting to be re-born. I believe the same is true for longform, literary novels. It’s a cycle, and the cycles are moving faster.

RM: Right. Who would have thought, five years ago, that Hilary Mantel would be a household name? Listen, while publishing sorts itself out, we write. Have a look at this interview where the musician Sarah Kirkland Snider is talking to Porter Anderson about the sense of connection and completeness we have when we create good work. That’s what it’s about.

Oscar: There is a passage from Nevada to Utah called The Virgin River Gorge. It’s at least a thousand feet deep and so beautiful it makes one’s heart stop. It was carved by a small body of soft water that moved slowly and peacefully because it was the only thing it knew how to do, the only path it could take. With time, it created the impossible and a majestic beauty and monument to the power of unyielding persistence.

Be the water.

Thanks for the pic MCD22

Do you have days like this? How has this year been for you in your writing and publishing career? My door is open.

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A wrong cover and a revamp – case study of rebranding an indie novel

bookshop 12 april 023 smlYou know my bookseller friend Peter Snell, of Barton’s in Leatherhead? (He’s the co-host of our Surrey Hills Radio show So You Want To be A Writer.) Peter is a staunch supporter of indie authors, and he mentioned to me that he’d been talking to an indie writer I know who wanted advice on revamping her novel cover.

Oh you mean Alison Ripley Cubitt, I said. Her science fiction novel?

It’s not science fiction, said Peter. It’s a contemporary eco-thriller.

And therein lay Alison’s biggest problem.

So how did she end up with a cover that sent the wrong message? How was she persuaded to change it – because she’d made that choice for a good reason. And what did she change it to?

I thought this would make a useful case study. Publishers often rebrand covers if they keep a title in print a long time, and I’ve known other indie authors who’ve rejuvenated their books with new covers, aiming to catch the eye of different readers (here’s the post). And as we’re making our own decisions about everything, it’s inevitable that we’ll take some wrong turns – I’ve nearly chosen a disastrously misleading cover myself when I was releasing Lifeform Three. (Here’s the confession. You will howl.)

So thank you, Alison, for agreeing to share your process. (Alison writes with her husband under the name Lambert Nagle @LambertNagle.)

CoverRevolutionEarth2015dfw-ln-re-cover-3d

RM: How did the original cover design come about, and why did it seem like the right choice?

ARC: The photograph we used showed the terrible drought in the Australian outback and came from our extensive research. Although I knew it hadn’t been digitally manipulated, to potential customers it looked like the opening shot in a Mad Max film. We were naïve enough to think we could do the design job ourselves.

RM: I’ve found this is a classic indie mistake – to use a picture because it’s significant to the author. The reader doesn’t know your reasons and may get the wrong message.

Also, note the difference in typography between Alison’s covers. Her designer has used colours, contrasting fonts, different sizes, which all add up to a polished result.

alison

Alison Ripley Cubitt

RM: What made you decide to change your cover? Was there any feedback that made you consider it?

ARC: As I stood in a room with indie authors in Foyle’s bookshop at an author event earlier this year, I looked at their covers and realised that I’d been far too complacent. Luckily our stand was next to that of the delightful CJ Lyons (@CJLyonswriter). I asked CJ what she thought of the book and her response was, ‘it looks like sci-fi!’ I loved her honesty. With another book on the way, we decided it was time to look at the design.

RM: Peter Snell mentioned he’d given you advice. Tell me more.

Peter Snell is a real champion of indie authors. On my visit to Barton’s bookshop, I was able to compare our current cover with the thrillers on Peter’s shelves. This underscored that our cover wasn’t working.

RM: I’ve had the incredibly useful Peter cover-brainstorming tour. When I was figuring out what to do about Lifeform Three, he took me round the shelves and pulled out titles with similar themes and atmosphere to show me how this could be communicated by the cover. If you don’t have a friendly bookseller to hand, you could research the comparison titles online.

january bookshop 040sml

Peter Snell of Barton’s Bookshop

Peter had a further point about the trim size of Alison’s book. She told me she’d chosen 6 x 9 because it was the most economical in price, but …. (here’s Peter):

PS: The trim size was too big for the pagecount so the book looked too thin, which made it look self-published. In a smaller format the spine would be thicker, making it better balanced in terms of look, weight and feel. It would also fit better on bookshop shelves. Also, the design needed to be repeated on the spine so that customers could find it if the spine was the only thing visible.

RM again: Alison, how did you find the new cover designer? How many ideas did you try?

ARC: I liked Eliza Green’s cover for Becoming Human, by Design for Writers. I filled in a detailed design brief, with information about the genre, target market and tone. I told them which book covers from competitors I liked and those that I thought were clichéd. They sent me a design that I loved. They got it right first time.

RM: How much did the new cover cost? And the interior redesign (for the new smaller size)?

ARC: We were given a 10% Alliance of Independent Authors member discount which brought the cost of the cover redesign to under £200. I have allowed a budget of £100 for the reformatting of the interior, So far, we haven’t had to spend that money, as we’ve done much of the work ourselves.

RM: How are you publicising the change to ensure your fans don’t get confused?

ARC: I am stressing to readers that the print version is a relaunch and not a new book so that they don’t inadvertently buy the same book twice. It’s easier with an ebook as a potential purchaser gets a message stating that they have already purchased it. We are kicking off the publicity campaign at a book signing at Barton’s in Leatherhead on July 11th.

RM: On the new cover you have a lot more supporting text – the series tagline, the review stars. This makes it look more ‘dressed’.

ARC: In the original cover, there was no supporting text. That’s because we did it ourselves! I was pleased that we were able to fit both the pull quote and the stars from one of our reviews on the cover. The series tagline was important as it tells readers that Stephen Connor is a character they’re going to see again in the next book.

RM: It’s a challenge to get a lot of elements onto a cover and make them look good. If you don’t know about typography, you can end up with an unholy mess. But notice how Design For Writers makes it all work.

ARC: We lengthened the synopsis on the back cover too.

RM: Many indie authors don’t pay enough attention to the look of the back cover. But it’s a chance to hook readers with an intriguing teaser, and quotes from reviews. Don’t waste this space.

RM: What about badges? The indie world is bristling with awards and rosettes. Alison mentioned to me that she had a Brag medallion and an Awesome Indies seal, but they’re not on the front cover. Alison?

ARC: We’re thrilled to have the badges but we didn’t include them on the cover as readers might miss some of the lovely design details.

RM: I’m in agreement here. I’m very grateful for my various awards, but they clash with my cover designs. But if you’d like to inc lude an endorsement, a good solution is to write it as a line of text.

To return to the start, Peter and I recorded an episode where we toured the bookshop, discussing covers and why they worked. Cover art on the radio? We are fearless. Listen to it here (slide the cursor onwards a little – the file includes the songs that were playing before our slot).

RM: I’ll leave the last word to Alison:

ARC: I would love to get feedback from writers who have had new covers made and to find out how it worked for them.

RM: The floor is yours – discuss!

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Whistle-stop tour through a ghostwriting career and beyond – interview at Whitefox

whitefI’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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Lessons learned from making a contemporary fiction box set – guest post at Jane Friedman

janefboxsetWomen-Writing-Women-Box-Set-Cover_finalJPEGsmlHow do you organise seven time-strapped authors to collaborate on a project? Who does what, especially the tedious jobs like proof reading? How do you decide on an image, a price,  a name, a thrust for the publicity campaign, how much to spend on advertising?

Indeed, how do you get seven individuals to agree on anything?

How do you get the attention of the press – and is that worthwhile? What’s the difference between a proper promotion strategy and flinging the book into the market to fend for itself?

As you know, I’ve been taking part in a box set release with six other authors. We started work, in secret, back in November. Now, Jane Friedman has grilled us about the lessons learned in making a nice notion into an actual live product. Do come over.

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What keeps you resilient as a writer?

6975005928_55153f82c3_oThe life of a writer is a kind of madness. We have the pressure to produce. The expectations of ourselves and, if we’re lucky, our readers. We have, usually, the feeling that we can never do enough – can’t write enough words or books, can’t be in enough online places, can’t sell enough copies. We might also have the feeling that we’re failing in comparison to others, that we have too many opportunities we can’t fulfil well enough – or no opportunities at all because, as we hear every minute of the day, the market is glutted and nobody needs any more writers.

But writing and publishing are long games, and those of us who keep at it have to develop a resilience. Day by day by day, there’s a secret fuel that keeps us keeping on. Otherwise this would be a dumb way to live, right?

In my corner of the world, March has dawned bright and full of promise. I still can’t figure out how, as it seems just a fortnight since Christmas, but as we’re here I thought I’d share the things that put a spring in my step.

Noting each hour I’ve spent on my fiction. Those of us who write and edit as a day job often find our soul projects get pushed aside. That’s one of the surprising truths about the writing life. Emma Darwin posted about this recently, in which she talked about ring-fencing time for her own writing. I cherish the time I spend with Ever Rest each morning before I open the deluge of emails. Just an hour loads the book in my mind and keeps it ticking over while I deal with the day’s demands. Sometimes deadlines make it impossible, and if that continues for a few days I start to get twitchy. But a proper appointment with my own writing restores my equilibrium. Even if that’s an hour of filleting a paragraph over and over, hunting for the right tone, that was well spent. Page by page, it adds up to a book.

The sense that so much of a book is serendipity. I look back at my completed novels and can recognise where incidental details came from, and sometimes the big ideas too. So much of a book’s texture seems to have come from random remarks I heard, news headlines I glimpsed, a novel I happened to be reading or a film I saw when my own story was at a sensitive point. My books are made of a collection of happenstances and lucky discoveries. Which is a bit magical.

Finding an email, a tweet or a Facebook note about one of my books. Sometimes they’re from a stranger, or a name I recognise only glancingly. We are probably more widely read than we suspect. But every single remark is a genuine, welcome surprise – or at least confirms I’m not howling into the wind.

An afternoon reading for pleasure. My reading time is usually appropriated by work – manuscripts in progress, research to get ideas and to make sure my WIPs are properly informed (both non-fiction and fiction). So I try to make time for an indulgent read, purely for fun and curiosity (which is how the rest of the literate world probably reads anyway). Again, I don’t always succeed when the deadlines go wild. (If you like to explore more about how writers read, bookseller Peter Snell and I discussed it recently in one of our radio shows. Find them all here – it’s show no 21.)

A good sales day, of course, which is different for everyone, and seems to be more of a challenge now than ever. But they do happen. I’ve written before about how much harder it is to sell fiction than non-fiction, and how to take a long-term view, and how a sale of one of my novels delights me about five times as much as a sale of a Nail Your Novel book (but I’m still very grateful to have those, thank you very much).

The Undercover Soundtrack I started this series on the Red Blog and have kept it going now for four years. It’s fun. People enjoy it and it’s nice to be able to offer an unusual kind of showcase for other writers. But also The Undercover Soundtrack keeps me in touch with the essence of creativity. These essays ground us in the work we do. It’s not about communities, forums or sales. It’s the pleasure and struggle of sitting down with yourself, the long persistence of flying blind through an idea, seeking clarity, gathering substance, the process of gradually making something from nothing.

The wonderful web of writer support. Most of the time we all try to be upbeat on line. And there is much to do, and many opportunities to grasp, and many reasons to press onwards and upwards. But I’m grateful whenever one of my co-conspirators lends an ear for a moment of woe, or confesses they are having just the difficulties I am – when I thought I was the only one.

Thanks for the pic MadAdminSkillz

Over to you – what keeps you resilient as a writer?

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Self-publishing and staying true to yourself – interview at Jane Davis’s blog

janedavisblogjanedavisblog2At 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.

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