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Posts Tagged self-publishing
‘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.
Do you have days like this? How has this year been for you in your writing and publishing career? My door is open.
author standards, friends, Hilary Mantel, literary author, low book sales, mainstream publishing, Netflix, Oscar, publishing, quality in self-publishing, Royal Literary Fund, self-belief as an author, self-publishing, self-publishing literary fiction, The Virgin River Gorge, tough times as an author, writers' forums
You 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.)
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.
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.
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!
Alison Ripley Cubitt, authorship, back cover copy, back covers, Barton's Bookshop, bookshops, CJ Lyons, cover design mistakes, cover design tips, covers, Designs for Writers, how to design a book cover, indie authors, Peter Snell, self-publishing, what size should your book be, wrong book cover
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.
advice on self-publishing, advice to new writers, are you ready to self-publish, Fix and Finish With Confidence, ghostwriting, Girl Online, indie authors, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishing services providers, self-publishing, Whitefox, Zoe Sugg
How 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.
author collaborations, box set, collaborating, contemporary fiction, Fix and Finish With Confidence, guest post, guest posts, how to release a box set, interview, interviews, Jane Friedman, literary fiction, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Outside the Box: Women Writing Women, proof reading, publicity campaign, Roz Morris, self-publishing, writing
The 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?
cope with writing pressures, creative writing, develop resilience as a writer, Emma Darwin, have a career as a writer, how to write a book, publishing, reading for writers, Roz Morris, self-publishing
At school, I wrote science fiction stories because it made my teachers supremely annoyed. That probably set me up well for my attempts to get an agent or a publisher, when I annoyed with stories that bent and mixed genres. And why not, when it was good enough for Atwood, Banks and Ballard? And the magic realists?
Today I’m at the blog of Jane Davis, one of my co-writers in the Outside The Box collection, answering questions about what I write and why, and how self-publishing began for me as a last resort and became the most positive step I’d ever taken. How times change, you might say – but we also discuss whether self-publishers are truly gaining more legitimacy or whether there is further to go. I think the latter. There are still barriers and indie authors are still treated discourteously.
Did I really use the word ‘discourteously’? I did. Do come over.
Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books
JW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)
Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.
authors, character or plot, Depth & Heart, Fix and Finish With Confidence, guest posts, having ideas, how do you finish a book, how I write, how to write a book, how to write a novel, how to write quirky fiction, inspiration, interviews, JW Hicks, literary fiction, literature, My Memories of a Future Life, Nail Your Novel, publishing, quirky fiction, Rats, Roz Morris, self-publishing, strange fiction, Triskele books, writer's block, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, writing routine, writing style
Fear not, I won’t inflict every post on you that we release for the Women Writing Women campaign, but this is one that celebrates and explores creativity. Pauline Baird Jones invited us to answer the question: why do we write?
Inevitably, this led us all to search for where we started. And here you see something we all have in common – not just the group here but all of us on this journey. Carol Cooper did it to get into the best gigs at college. Jessica Bell did it because otherwise she felt she’d disappear. Jane Davis did it after a friend died. Kathleen Jones did it when she ran out of stories to read as a child on a remote farm. Orna Ross did it to give an overdramatic teenage personality a safe space to express. Joni Rodgers did it when blood cancer put her into isolation. And me? An overexpressive kid with something to prove, I guess, and too much shyness to be big in real life. Come over to Pauline’s blog and discover the full story.
And if you feel inclined to share, tell me here: why do you write?
authors, book marketing, box set, Carol Cooper, Daily Mail, Depth & Heart, Fix and Finish With Confidence, guest posts, how to make a box set, how to write a book, how to write a novel, interview, interviews, Jane Davis, Jessica Bell, Joni Rodgers, Kathleen Jones, My Memories of a Future Life, novels, Orna Ross, publishing, Royal Literary Fund, Roz Morris, self-publishing, traditional publishing, Vine Leaves Literary Journal, why I write, Women, Women Writers, Women Writing Women, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, Writing Plots With Drama
If you know me – and some of my friends – on Facebook, you might have seen some coy posts about how we’ll be revealing a big secret project.
Well here it is.
Seven writers of quality indie fiction are releasing an ebook collection called Outside the Box: Women Writing Women.
We’ve each of us proved our worth with awards, fellowships, teaching posts and commercial success. We’ve all self-published to keep our hard-earned independence and our artistic identity. Now we are teaming up to create an ebook box set of novels that feature strong, idiosyncratic female protagonists. And it will be available for just a brief period – from February to May 2015.
Power in a group
Now here’s where we can explore the power of the group. We’ve already been interviewed by The Guardian books pages, Books + Publishing (the Australian counterpart of Publisher’s Weekly) and have interest from the arts programmes of BBC Radio 4. If any of us had approached them on our own, we probably wouldn’t have got even a reply. But together?
We hope there’s more to come. Much more. These last few months we’ve been working behind the scenes, making contacts, sending emails. Certainly I’ll have a lot of learning to share about pre-launch campaigns. I am learning loads from these guys. (I should say ‘women’, but you know what I mean.)
So what do we hope to achieve?
To hit some charts, obviously. To reach readers who are hungry for strong literary fiction beyond the bounds of traditional genre tropes.
We also want to prove that fine, original authors are self-publishing as a mark of independence and integrity, and doing work of value and quality.
You might ask: is that still necessary? Does anyone still consider self-publishing to be ‘vanity’ or second rate? They clearly do, because this is one of the issues we’ve been asked about most frequently. And we have all encountered attitudes in the books world that demonstrate we are regarded as inferior. Try joining a professional body, applying for a grant or entering an award, or requesting a review. (Happily, we are already changing minds. Book bloggers who are wary of self-published books have welcomed us.)
Who are we?
Our coalition is:
Me, obviously (more than 4 million books sold as a ghostwriter, creative writing coach for The Guardian, literary author, editor);
Orna Ross, founder of the Alliance of Independent Authors, named one of the 100 Most Influential People in Publishing by The Bookseller;
Joni Rodgers, author/ghostwriter of multiple NYT bestsellers, short-listed for Barnes & Noble Discover Award;
Kathleen Jones, widely published Royal Literary Fund Fellow and frequent BBC contributor;
Jane Davis, winner of the Daily Mail First Novel Award hailed by The Bookseller as “One to Watch”;
Carol Cooper, physician, medical journalist, and winner of the 2013 BMA Book Award;
Jessica Bell, publishing editor of Vine Leaves Literary Journal and author of the bestselling Writing in a Nutshell series.
You’ll also know them all from The Undercover Soundtrack, except for Jane who doesn’t use music in her creative process. (But maybe we can change that!) Find our ‘who are we’ page here. And yes, you can see we dressed up for the occasion.
The collection is priced at USD$9.99 GBP7.99 – yes, that’s not throwaway pricing, but at roughly £1.15 per book it’s still a bargain. The box set (or e-anthology, if the word ‘box’ raises your hackles) will be available for just 90 days from February 20, though pre-orders have just opened now. Right this minute.
Out and about
We’ve got a host of blog appearances planned. We’ll be sharing plenty of information about the hows and wherefores, the triumphs and pitfalls. We’ll also be talking about our publishing journeys, our inspirations, our methods. And our work – our unconventional characters and their relationships, our themes and topics like body image culture, abortion, prostitution, euthanasia, domestic abuse, same-sex marriage, bereavement, psychological recovery and rogue healers.
If you have a blog and your readership would be interested in us, we’d love to be mentioned – or interviewed if that’s what you normally do. If you want to tweet about it and like lists of pre-prepared tweets, find them here. And if you post a review, fill in the form on this link and we’ll send you a digital swag bag that includes a free book plus lovely links, delicious downloads and some playful surprises.
If nothing else, we hope to bust some barriers in 2015. We want to prove that indie publishing is a positive choice for writers of quality, to show that writers can make good publishing decisions and lead the creative process. And if you’re happy with traditional publishing, we hope to add more power to your arm, by demonstrating that authors should be included in business and promotion decisions, treated as partners and offered fair deals.
It’s going to be exciting. Check us out at www.womenwritewomen.com.
7 unforgettable books by award-winning #WomenInLiterature. Only $9.99! Avail. Only 90 days! http://goo.gl/D1fyqW #WomenWritingWomen
authors, book marketing, box set, Carol Cooper, Daily Mail, Depth & Heart, Fix and Finish With Confidence, how to make a box set, how to write a book, how to write a novel, Jane Davis, Jessica Bell, Joni Rodgers, Kathleen Jones, My Memories of a Future Life, novels, Orna Ross, publishing, Royal Literary Fund, Roz Morris, self-publishing, traditional publishing, Vine Leaves Literary Journal, Women, Women Writers, Women Writing Women, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, Writing Plots With Drama
Last year I wrote a post about whether I’d advise an author to publish or selfpublish. A year on, the landscape for authors is remarkably different – or perhaps not remarkable if you’ve been waiting for a bubble to burst.
Indie authors have seen sales plummet because of the sheer numbers of books available, and subscription schemes such as Kindle Unlimited have created a breed of readers who won’t shop outside a limited free list.
Might this mean it’s better to be traditionally published?
Not from what I’ve seen. My friends with trad deals aren’t having a good time either. Leaving aside royalties and advances (which seem to offer little financial reward for all the hard work writing), their books aren’t getting a decent chance for a long-term future.
A friend whose first novel won a major award in 2012 has just watched his fourth novel launch with no more fanfare than a tiny paragraph in a Sunday paper. His only other support was a training day on a social media course. And don’t even ask about rights grabs – where authors might wait years to reclaim a book to publish it themselves.
Tough times, my friends. So savvy writers will be looking for smarter ways to publish.
Since my last post about this we’ve seen a growing trend for indies to work in collaboration, teaming up with similar authors to release box-sets of ebooks, finding partners to exploit other rights such as translations or audio (either via ACX or other means – here are my posts on my own collaboration with my voice actor Sandy Spangler). Collaborators might be paid up front or in royalty splits. Further back, indies have collaborated by teaming up to create products (like my course with Joanna Penn, now unfortunately nuked by EU VAT rules) or forming long-term collectives (Triskele Books, itself a collective, has been running a series on various well-established collectives ). Joanna Penn has a mighty post about joint ventures with other creatives.
And that’s just the start. I think the authors of 2015 will be watching out for advantageous ways to partner up and we haven’t seen the half of them yet.
Indies who collaborate get
• shared marketing muscle, to connect with more readers
• shared expertise (editorial feedback, blurb and press release writing)
• shared contacts (editors, proof readers, designers)
• a shoulder to cry on, behind the scenes – and tough love when necessary too.
Does it sound familiar? Indie author collaborations are attempting to create the best of what a traditional publisher does. And this means we should…
View traditional publishing deals as collaborations
And so this means the smartest way to suss out deals from traditional publishers is to consider them as collaborations. What will they do for you that you could not do yourself? What are they asking from you in return? Is it reasonable?
No one I know writes a book to sacrifice it to a bad deal (see my remark about rights grabbing above). On the other hand, no one wants to turn down an opportunity that would be good, as far as can reasonably be forecast in a world of fickle readers and luck.
So this is what I’d say to the 2015 writer who’s asking my advice on whether to selfpublish or query traditional publishers.
1 Whether you intend to go indie or not, learn about selfpublishing
– then you’ll know how to weigh up the value of a publishing deal. As well as the advance (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
Some (not all) are easy to source yourself or make good decisions about. Some can’t even be priced, like the publisher’s reputation – but see my remark above about the award-winning writer with his latest launch. Some of that value might be emotional – the confidence that everything has been done properly. This may not be as guaranteed as you think. There are traditionally published writers who sell enough to get meticulous attention from publishers, and others who get a tired, overworked editor who simply doesn’t have time to do the job as well as they’d like.
The more you know about selfpublishing, the more you can assess a publisher’s value as a partner. If you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
2 Be aware of the limits of traditional print and distribution
Distribution of print books is an area where traditional publishers have a clear advantage – (however, the Alliance of Independent Authors is working on a print sales project for indies ). Books in a publisher’s catalogue get promoted by a sales team. You get the heft of their mighty reputation! Result!
But let’s have a reality check. Go into Waterstones or another large book emporium. Look along the shelves where the books are spine-outwards. How many are there? Which ones catch your eye? Probably none of them. They’re the store’s wallpaper. You’re already cover-drunk by the time you’ve passed the books on the tables or in the window or in special display boxes.
A book in a store needs more than a meek slot in the alphabetically-ordered shelves to be discovered by a casual browser, no matter how beautiful its title or cover. So even if your book is going into big stores, it’s unlikely to be found unless it gets special prominence – both in the store and in the wider world. For that, the publisher has to spend money. Independent bookstores are a different matter as the selection is smaller and more personalised, but you still have to hope your book gets emphasised by the sales reps or the store will never hear about it.
3 It isn’t either-or
Whether you start as indie or traditionally published, you won’t always stay that way. Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might selfpublish their backlist. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project.
Some publishers are experimenting with partnering deals, where an author who is experienced in production keeps control of some stages of the editorial process. I like this model very much – it seems a good way to use everyone’s strengths.
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation. Take your time. Do it properly. You’ve got a lot to learn – about writing to a publishable standard and about publishing itself. The world will wait – but it won’t forget if you mess it up. See my post here about leaving enough time to use editorial feedback.
The selfpublishing world is maturing. Suddenly I notice there are a lot of us who have been in this game a few years now, building solid reputations and devoted audiences. I think 2015 will be the year of the exciting collaboration – with other authors, with translators, with artistes from other media (such as voice actors). Perhaps with editors too.
We’ll choose what’s best for each book. We’ll also get more expert at putting a realistic value on contributions, including those of traditional players in publishing, both imprints and agents, and with luck this will lead to deals that are fair and fruitful.
Writing may be solitary. Publishing – and selfpublishing – doesn’t have to be.
Thanks for the dancer pic Lisa Campbell
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.
Have you collaborated on selfpublishing projects – or struck an unorthodox deal with a publisher? Are there any success stories or cautionary tales you’d like to share? How do you feel about the prospects of the solo selfpublisher for 2015? Optimistic? Pessimistic? How do you feel about traditional publishing? Let’s discuss!
AFTERWORD Since I first published this post, Peter Snell and I recorded an edition of the radio show in which we interviewed two founders of an authors’ collective, Triskele Books. They gave us the lowdown on how they formed, how the collective works and the pros and cons. Listen by clicking the clever thingy below.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Self-editing masterclass snapshots – do you have a plot or a premise? October 4, 2015
- 2 interviews about teaching and writing – Venice, BBC Radio London September 30, 2015
- How to write well in a language that isn’t your mother tongue September 26, 2015
- ‘Even the bed is forgetting you’ – The Undercover Soundtrack, AJ Waines September 23, 2015
- Venice masterclass snapshots: 4 hidden enablers for your story September 20, 2015
- How should you credit your editor? Advice from a former publisher September 13, 2015
- ‘Freedom and life force’ – The Undercover Soundtrack, Christine Tsen September 9, 2015
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