The publishing world is moving faster than ever. Have creative writing courses kept pace? That’s the angle I’m considering this time in my series of interviews with creative writing professor Garry Craig Powell.
If you want a career in mainstream publishing, will a course equip you for that?
If you want a traditional deal, will a creative writing qualification make that more likely?
What about the indie world – does a creative writing degree confer any benefit, advantage or prestige?
If you decide to be master of your own work, will a degree help you do it more wisely and effectively?
Now that authors have to do so much platform-building for themselves – whether indie or traditional – have the academic departments kept up with these new demands?
As usual, Garry is patient and thoroughly candid and the discussion can be found at Late Last Night Books. It’s part of a longer conversation:
A month or so ago, I wrote this advice in a post at the Alliance of Independent Authors: ‘Embrace the traditional publishing process and never rush it. It’s still the best way to ensure a book has proper development, error-catching and finessing.’
Debbie Young, who is editrix there, pounced – and asked me to explain.
So if you hop over to ALLi, you’ll find my concise guide to book production processes, why each phase is necessary and why the order is important. You wouldn’t believe how many times I see carts put before horses in the indie world. Step this way.
It’s not my policy to run press releases, as this blog is my personal writing and publishing adventures. But this is a campaign I’m proud to get behind, and I think it will strike a chord with a few of you guys too.
Today, the winner of the Man Booker is announced, and Orna Ross (left), founder of the Alliance of Independent Authors, has issued an official plea to literary prize organisers everywhere: it’s time to open prizes to the quality work being produced by self-published authors.
‘As so many authors are now producing work of creative and commercial merit, a prize that fails to include author-published work is deficient: unrepresentative in a way that seems incompatible with the prize sponsors’ commitment to diversity and inclusion. We strongly urge the Man Booker Prize to find ways to include self-publishing writers in their programme.’
Of course, including self-publishers in established literary awards produces practical difficulties. We know; we know. I’ve suggested my own solutions to them here – the post is intended for reviewers but the issues similar to those faced by awards organisers – the volume of entries, the variable quality. And it’s useful to understand the reasons that perfectly ‘publishable’ authors choose the indie route – a positive choice, not the last resort of a second-rate writer. Ouch. It hurt to write that.
Orna is well aware of the difficulties of such a change, and she also has solutions:
‘We recognise that there are challenges in doing so and The Alliance of Independent Authors has issued a guide to help those organisations that are sincere in ensuring that the best books, regardless of the means of production, are brought before their judges and committees. The Alliance runs an ongoing campaign, Opening Up To Indie Authors, which advocates for the opening of all book prizes – and other parts of the books industry – to self-publishing authors.’
For me, this is what it’s all about – rewarding the best books, regardless of the means of production. This should be said boldly and loudly.
And so I’m spreading the word as much as I can. Who’s with me?
So I find a lovely-looking review blog. The posts are thoughtful, fair and seriously considered. I look up the review policy and … it says ‘no self-published books’.
Today I want to open a dialogue with reviewers. If you have that policy, might you be persuaded to change it? Or to approach the problem in a different way?
I used the word ‘problem’. Because I appreciate – very well – that in making this policy you are trying to tackle a major problem. Your time as a reviewer is precious – and let me say your efforts are enormously appreciated by readers and authors alike. You get pitches for many more books than you can read and you need a way to fillet out the ones that are seriously worth your reading hours. A blanket ban is a way to fend off a lot of substandard material and save you many unpleasant conversations. And traditional publishing implies a certain benchmark of competence.
Competence. That’s probably the heart of the matter. There are good self-published books, of course, but how can I help you sort them from the bad and the fug-ugly?
Most people would probably tell you to look at the presentation – whether the cover and interior look professional, and the blurb looks authoritative and slick. But to be blunt, pigs can be well disguised by the right kind of lipstick. Still thinking in pig, a good sausage and a bad sausage look mostly the same on the outside.
No, instead, I urge you to do this. Look at the author.
Consider the following:
What experiencedo they have of publishing? Do they know how much meticulous polishing a book should have? Have they already been traditionally published, and learned what it takes?
Do they give the impression that they are wise and competent enough to make responsible publishing decisions?
Look at their online persona – do you think they’d act on professional feedback, and would they have the self-discipline and pride to give the book another revision if a pro told them it wasn’t yet ready?
Yes, it has to be admitted that some books are published too early. A release date is decided, and sometimes there is no time for the author to do a rewrite, even if the manuscript badly needs it. The editorial people do the best they can in the time available, tidying up the typos and inconsistencies – or sometimes they don’t even have time for that. I’ve been involved with books like this – and industry friends have too.
Sounds like a ghastly compromise, doesn’t it? And do you know, the examples I have in mind are not self-published books. They’re books produced by traditional publishing houses. I promise on my honour, this happens and it’s not even uncommon.
Manuscripts that have already been published in hardback often get another proof-read before they release in paperback – and all manner of unholy errors come to light. Not just the odd typo, but fundamental goofs with credibility and consistency. And major craft issues like head-hopping. I can’t count the number of published books – yea, even those from trad houses – where the author hasn’t grasped point of view. When characters start talking about things they can’t possibly know, it can slap a reader right out of the story.
So it’s not safe to assume that a trad published book has superior quality control.
But, you might ask, who is doing the quality control on an indie author’s book? Well, the trad houses use freelances – freelances who are also now working with indie authors. It’s the editors who guide the book, line by line, into a publishable shape – so indie authors who use them are getting exactly the same degree of professional stewardship as authors who are published by an established imprint. And, if they’ve been sensible with their schedules, these authors might be able to use the editor’s contribution more fully. (Here’s a post where I give advice on how to build in time to use your editorial experts properly.)
But all the good authors get book deals, don’t they?
No. They don’t. A book deal isn’t like an academic qualification – you hit the standard, you get the badge. That’s one of publishing’s biggest myths. Here’s the reality – a book deal is awarded to writers whose work fits current marketing needs. Big, big difference. Here’s a unicorn.
Let me tell you a story to illustrate what it’s really like. I have a friend who’s a senior editor at one of the Big 5. A decade ago she published a set of novels that were well reviewed, got a five-figure advance – the full fanfare. She’s now come out with a new novel, which has seriously impressed an agent. But.
What’s the but? The market has moved on and isn’t looking for books like hers. On its own terms – as a reading experience – the book is her best ever. Her old fans would probably love it too. Her original books are still finding a steady trickle of new readers. She’s made the grade, dammit, but that book does not fit today’s market.
And what’s she doing? She’s seeking my advice on self-publishing. As is another friend who got his original publishing deal by winning a national award, and then went on to publish 10 highly acclaimed novels.
These are some of the people who are self-publishing. Senior figures in the industry. Prizewinning authors. People of solid publishing pedigree. And they’re probably even better authors than when they started because they’ve grown as writers and people. Other kinds of people who self-publish responsibly include authors who’ve begun under contract and then continued as self-publishers; authors who have released their books once they went out of print; authors who’ve published in very commercial areas but would like to publish with more creative control – me, for instance, but I’m not alone. Purely as an example, here’s my story.
Some book deals are unacceptable to authors
Even if an author ticks the marketing boxes, they might prefer not to accept a deal. Not just because of money or royalty rates, but because of other clauses that have long-term consequences. Two that particularly deserve attention are rights grabs and reversion clauses. Here’s a shark.
Two technical terms What’s a rights grab? A book contract is a grant of the right to publish in a particular format. A book could be published in many formats or ‘products’ – an ebook, a print book, an audiobook, a movie script, a TV adaptation, an interactive app, a workbook. And it could be all these, multiple times, in all languages (translation rights) and other English speaking territories (England, US, Australia etc). A rights grab usually tries to get as many of these in one deal without paying extra for them. If the author sold them separately elsewhere, they would usually get a better deal. Publishers are usually not keen on this.
What’s a reversion clause? A book doesn’t have to ‘belong’ to a publisher for life. Indeed, a book often goes out of print, which means the author could then take it back and find a new publisher for it, or publish it themselves. So contracts should have a reversion clause – but if the terms of this aren’t fair, that book might completely disappear. For many authors who are building a body of work, that’s simply not acceptable.
Sometimes, a publishing deal doesn’t make business sense to the author, even with the kudos.
Dealing directly with authors
Now this is tricky. If you review traditionally published books, you might deal with third parties – publicity departments or services such as NetGalley. If you don’t like a book or choose not to review it, you don’t have to explain or justify anything to the sensitive person who wrote it. But indie authors might contact you directly, and it could get difficult.
So here’s a plea to authors. If a reviewer has agreed to look at your book, send it and then … forget about it. Don’t hassle to see whether it’s being read or when the review will be published. In the publishing ecosystem, far more copies get sent out than are reviewed. They slip through the net for all sorts of reasons, many of them unrelated to the book itself. Don’t hound a reviewer to give you feedback. Fire, forget and move on.
The author as creative director
We are in an age where more authors will be their own creative directors – for artistic reasons and financial ones (we haven’t even mentioned creative control, but that’s another factor for committed authors with their eye on the long game). A lot of the new, important voices will come up through self-publishing because traditional publishing will have to play safer and safer. And a lot more of your favourite authors will be continuing their body of work by self-publishing.
So if an author can prove they have the necessary maturity and wisdom, would you give them a try?
I’d like to take this debate forward in a helpful way. Book bloggers and reviewers, you set your policies for thoroughly sound reasons. Would you share them here? If you accept indies, how do you make this work? And if you don’t, what are your concerns? I’d like to understand them. What would you need to know about a self-published author to consider one of their books?
Self-publishing and traditional publishing. What are the differences? Today I’ve been on a panel at the New Generation Publishing summit, and it’s clear there is no longer an absolute divide between the publishing approaches. These days, we have a spectrum.
So that sounds abstract – let’s have concrete examples. This is how the discussion went at the event today – plus some more thoughts I wanted to elaborate on. (Yes, being a typical author, I muster my best lines several hours after the conversation.)
The question: What do you see as the main differences between self and traditional publishing?
My answer was :
The solo artist – and who’s in charge
And here’s where we find ourselves in grey areas.
1 The solo artist – and who’s in charge
When you self-publish there are no gatekeepers. You don’t have to be accepted by anyone. Also, you have the final say about the text, the cover, the way the book looks. When you traditionally publish, you have to be chosen, and your book is filling a publisher’s need to fit a certain market. They will make many of the decisions – including the cover and the title. They might direct certain rewrites. They’re usually unwilling to let you lobby for changes; they don’t regard it as your territory. Some writers are happy with this; after all, they are writers, not publishers. Sometimes it turns out well for all. But plenty of authors end up feeling railroaded or compromised, or with covers that attract the wrong kind of reader (who then respond with negative reviews).
Indie authors shoulder all this responsibility themselves – but that doesn’t mean they’re one-man bands. Indeed, they shouldn’t be. Although they might know how to write, that doesn’t mean they also have the other skills needed to publish well. In the early days of indie, many had a go anyway, and the Kindle shelves were stuffed with unedited, unproofed horrors with unsuitable covers. But indies have wised up, and a well-turned indie book will have creative input from editors, cover designers – and even blurb writers. There’s no change in who the final boss is, but an indie book is now more of a team effort – and editors might even steer the book significantly.
2 Who pays for production!
Here’s where the boundaries start to blur. In traditional self-publishing, you pay all the editorial work, cover and launch. And in traditional traditional publishing, the imprint pays. Plus they pay you an advance or a fee to acquire the book.
Here’s how that’s changing.
Crowdfunding If you’re self-publishing you might be able to crowdfund. There are authors who use Kickstarter or Indigogo, to name just two. Ben Galley has a post about it here.
On the trad side of the fence, there’s Unbound – an imprint with traditional gatekeeping and commissioning editors, who ask authors to raise the money for the first print run (here’s an interview with several successful Unbounders plus a Q&A with an Unbound editor). You might wonder what the upside is? Prestige – Unbound is developing a reputation for books that are more innovative than the safe-bet choices of purely traditional publishers.
So you might think that if you’re offered a traditional-traditional contract, you don’t pay any of the costs. But here are two ways that trad-trad authors might help fund their book’s journey.
Developmental editing The market is so competitive now that it’s not unusual for first-time authors to work with an editor to give their manuscript the wow factor. Sometimes literary agents will nudge a promising author to seek an editor to iron out some craft problems.
Promotion and marketing A lot of trad-trad releases have a limited budget for promotion and marketing. It’s not unusual now for authors to top up the launch package by hiring a book marketing company or funding a signing tour. (But beware of self-publishing services companies that upsell marketing packages of dubious value. You’re better going to a specialist consultancy that handles traditionally published authors as well as indie authors.)
Who pays? The authors in both camps are edging closer together.
Another ‘beware’. There are companies that contact authors, apparently offering a publishing contract, but really they’re just touting for business. See here for a post on how to spot them. If you get an approach like that, you’re often better shopping around properly. Check what value you’re getting.
By the same token, keep your head if you’re offered a traditional deal. A significant number of indie authors are turning these down because the offers aren’t worth their while – here’s a post that expands on that.
Speed is one of the great advantages of self-publishing. It’s as instant as you like. You can, if you like, pull a Word doc off your computer, whack it up on KDP and voila – instant ebook. An hour or so of tinkering and you can be making a print version on CreateSpace. You shouldn’t, of course, but there are no barriers to stop you. The tools are available.
Traditional publishing, on the other hand, means entering a slow-moving machine. Your contract might be inked in January but the book might not releases until October – or even later.
Some of that delay is corporation inertia. But actually, indie publishing, if done properly, should also have a long gestation. It might take you many drafts to finalise your manuscript, and after that, you need other processes. The developmental edit (especially if you’re new to publishing). The copy edit. The proof-read. The cover design. The marketing plan (which shouldn’t be left until the book is about to hit the shelves). (Here’s a post on who to hire and when.)
Some of these checking and polishing stages take a necessary amount of time … And good editors and cover designers might need to be booked several months in advance. Many indies then go straight to press once the book is ready, but if you want to pitch to mainstream reviewers, they need bound copies several months before publication – because that’s when magazines prepare their books pages. And bookshops place their orders three to six months before publication – so if you’re selling into shops, you need finalised copies by that time.
All this means that more indies are setting long-term schedules for their publishing plans –in some cases, the same amount of time that a traditional imprint would take.
The artist working solo. Funding the production. Speed to market. These used to be the defining characteristics of indie versus traditional publishing. Now, we’re discovering how to get the best of both worlds – and I find that encouraging. Which other distinct divisions might disappear? What do you think? What have you noticed already? Let’s chat in the comments.
Forgot to add… This blog just got a rather nice honour, alongside The Paris Review and a number of other writerly boltholes.
I recently changed the covers of my Nail Your Novels … and got myself a nice long to-do list as a result. But as well as refreshing the look of the books, a redesign is also a chance to smarten up the covers’ marketing potential. Here’s how.
Don’t miss the opportunity to tweak your sales wording
I’ve already blogged about changing the cover design to target readers effectively (the last time I changed the cover of book 1, as it happens). But revising the book doesn’t have to stop at the visuals. Since you published the title, have you had any standout reviews? Work them into the redesign – on the front as a teaser or the back as part of the sales blurb.
Indeed, could you add punch to the back cover copy? Sometimes reviewers sum up our books much better than we can ourselves. A reader who really got the book might have written you a brilliant logline. Search your reviews in case.
If you have an ‘about the author’ paragraph on the back, should you update it? Perhaps you’ve published more books, or won a prestigious award.
What about your author photo? My Nail Your Novels had three different author photos according to the years they were published (and the hue of my hair), but with this reboot I decided to use a new image to make them look more current and uniform.
I also found I had room on the back for miniatures of the other books in the series – a good visual way to let readers know they’re part of a set.
Read all the copy!
Even if you change only the fonts, you should proof-read all the cover material anew. Any time a change has been made, even if it’s just cosmetic (fonts etc) there’s a possibility for a letter to be deleted or a copy-and-paste to go wrong. If the new font doesn’t behave like the old one, you might find the copy doesn’t fit – check that the final sentence of your blurb or author description hasn’t disappeared into a mysterious limbo.
Read the spine too. Mistakes can happen anywhere. Especially there.
If you’re upgrading an entire series, be alert for copy-and-paste mistakes between the books! A designer who is working on several covers at once might paste an element in from another cover as a placeholder or to copy the style, and forget to type the correct wording. Check each book has its correct title and description, and not a pasted bit from another book in the series.
Picture and artwork credits
If you’ve credited the designer on the cover, you might need to update this. And if you’ve used photo library artwork, the T&Cs might require you to credit the originator – either inside the book or in a convenient place on the artwork. Sometimes, font originators need a credit (if they do, it’ll be in the T&Cs when you acquire the font). Don’t forget to credit your author image photographer as well. So: remove outdated credits and add new ones as necessary.
Inside the print book
I’ve already mentioned updating credits for the cover images and design. What about the design of the title page? My title pages continue the design from the cover font, so I updated those too.
If you have images of your books in the back matter, they’ll need updating.
In the ebooks
If you have image and design credits in the ebooks, don’t forget to update these. Or images of your other covers.
My books’ facelift also generated a number of other itty bits of admin
The books’ pages on my website(s) (why did I have so many sites?!)
Excerpts on preview services (I use Bookbuzzr)
Headers on Facebook, Twitter, my newsletter sign-up, G+ …. Everywhere, really. I don’t think I’ve found all mine yet. (If you spot one, let me know!)
Business cards, bookmarks, postcards, posters for events
And if you smartened up the back cover copy or logline, don’t forget to update your sales descriptions on Amazon, Smashwords, Kobo, Ingram … everywhere. But you don’t have to worry about your Amazon author page or the Look Inside feature – those update automatically but you have to allow a week or so for the changes to filter through.
Is there anything I’ve missed? I’m sure there is. Tell me here!
Should you use a pen name? Why might you? What problems might it cause? I rounded up a quiver of authors with noms-de-plume and asked them to answer some practical questions.
First of all, why?
An author name is a brand, of course, and traditional publishing has a long history of strategic pseudonymery. Names or initials might make a writer sound more exciting, more serious, more like an already famous author (JRR Tolkien and George RR Martin, anyone?). Androgynous names might do you favours if your readership is gender sensitive. A new surname might put you at a more visible part of the bookshelves or next to giants of your genre (George RR Martin again).
Even a change of nationality might send interesting signals to the reader. Earlier this year I was at an event with Sophie Schmidt, head of author relations and marketing at Epubli, and she told me that German erotica authors often choose English pseudonyms. More tea, vicar?
Multiple identities for separate markets
Deborah Swift (@Swiftstory) has published four historical novels under the name Deborah Swift, and one novel, Past Encounters, under the name Davina Blake (here’s her Undercover Soundtrack). ‘I use a pen-name for Past Encounters because it has a narrower focus, being a close study of two relationships. My publisher was not keen on me changing to a more modern genre (WWII), and rejected the book. I did not want to go through a long submission process, so I self-published to be available for the 70th anniversary of the filming of Brief Encounter and the bombing of Dresden which feature in the story. I thought Past Encounters would attract a different kind of reader, and this has proved to be the case.’
Do you always need to separate yourself so much? Maybe, maybe not. Read on.
Conflict with professional role – a tale of two doctors
Wolf Pascoe (@WolfPascoe) is an anaesthetist as well as a poet and playwright, and you might have seen the Undercover Soundtrack for his poetic memoir, Breathing For Two. ‘I decided in writing about anesthesia to use a pen name for patient confidentiality. Of course, I don’t use real patient names, and I take pains to change any identifying details, but I wanted an extra layer of security. Also, as I’m still practising, I didn’t want there to be a chance that I’d encounter a new patient who might worry I’d be writing about them in the future. And finally, I’d rather not have my hospital knowing about my writing activities — this gives me more freedom to say what I want to say about the medical establishment without fear of retribution.’
In the opposite corner, though, is Carol Cooper (@DrCarolCooper) (also an Undercover Soundtracker). Carol writes parenting books, fiction, tabloid journalism – and practises medicine – all under her real name. ‘From time to time, I’ve been advised to use a pseudonym for different types of writing. After all, I still see patients and teach medical students, so I need to be taken seriously. But my name is part of me, part of my brand. In the distant past I’ve used jokey pen names like Saffron Walden and Cherry Hinton, and written a column pseudonymously as a nurse called Rosemary Sharpe, but nowadays I want potential readers to find me.’
Basically, the internet will outsmart you. Real-life friends will innocently post pictures of you on Facebook, and even if they don’t think to tag you, Facebook’s facial recognition software will prompt them to. People who know you as two names may use the wrong one at an inappropriate moment because they didn’t know it was important to keep the distinction.
The double-named life has lighthearted challenges too. Elizabeth Spann Craig (@ElizabethSCraig) who writes three cosy mystery series, one under the pen name Riley Adams, was on a book tour and didn’t notice a bookstore employee calling out ‘Riley? Riley?’ until she was prodded by another author on the tour. Then you have to form an autograph in the alternate name: ‘My signature for the Riley Adams name is appallingly indecipherable…and I had to buy a book or two when I accidentally signed stock with the wrong name.’
Selfpublishing under more than one name = multiple accounts?
On Amazon this isn’t too tricky. KDP and CreateSpace allow you to associate your real account with any pen names you want, so all the revenues can flow to you. There’s no need to set up separate bank accounts. Kobo allows you to enter any name you like in the author field when you upload a book.
Smashwords, however, can’t accommodate more than one author name on a standard account. It offers an upgrade for publishers, agents and other bodies who might want to publish more than one author. Notes are here.
What about social media?
Now this is where the double life becomes a strain.
Elizabeth Spann Craig: ‘There are only so many hours in the day for us to promote our books. After a few mistakes, including Facebook and Twitter accounts under the pen name, I decided to promote as myself. I mentioned my pseudonym and other series in my bios. On social media sites and in my newsletters, I direct readers to my website, which lists buy-links for both series.’
Deborah Swift: ‘I have two Twitter accounts and two websites. It also helps me when networking with other independent authors if I am clear that Davina Blake is an independent author, whereas Deborah Swift is not. In a sense, the boundaries are artificial, but they help me maintain a more honest relationship with my readers and with other authors.’
Wolf Pascoe: ‘Both Wolf and real-me have Facebook accounts. This is against Facebook rules. I probably should have just had an author page for Wolf, but I’ve left it that way for now. I have a regular Google account for both real me and Wolf. This is probably also against the rules. I don’t really take the rules of corporations seriously.’
A tale of two Twit(ter)s
I’ve messed about with multiple Twitter identities myself. When I launched my first novel, I decided I had to keep my fiction identity separate from the writing tutor identity. I wasn’t using a different name, but I was aware I might have two distinct audiences. This was the post where I explained the grand plan. Note the updates from 2014, when I finally decided it was too much. When I returned to just one Twitter handle for both strands of my writing life, the firmament didn’t crack.
Times change. Readers are now more interested in the real people behind author names. Might pseudonyms be less necessary or more necessary than ever? And why?
John Dugdale recently wrote in the Guardian about a decline in the use of pseudonyms. On the one hand we have Robert Galbraith very famously unmasked as JK Rowling. On the other, we have Jeanette Winterson (among others) venturing into new quarters of publishing that, in years gone by, might have been cause to launch with a new name. Today they’re flying as their undiluted selves.
Elizabeth Spann Craig: I think it depends on your motive. Some choose pen names because they’re concerned about upsetting family with their content and they want to be completely anonymous. This approach can be especially tough since discoverability depends so much on online interaction between author and reader. But I think pseudonyms can still have their uses — especially if we explore other genres and our dedicated reader base might be resistant to something strikingly different.’ (Indeed, since this interview, Elizabeth has released her first cosy zombie book as Liz Craig.)
Elizabeth again: ‘The last thing we want to do is create more work for ourselves. If we’re absolutely sure we need a pen name, and we already wrote under a different name, we can limit the social media in the pseudonym’s handle. But if you’re starting out fresh as an author and are only writing under a pen name, it will be easier to have extensive social media platforms for the name. In that case, the only problem for the author who wishes to be anonymous may be the author picture – also a vital part of online presence.’
Some writers find that a separate identity has other benefits too. Here’s Wolf Pascoe again: ‘It’s fun being Wolf. I like Wolf Pascoe as a name better than my real name. But I had a sort of reputation as a poet and playwright as real me, and starting over as Wolf writing narrative, I may have lost some career momentum. This was a drag. Also, I had originally used Wolf’s name when I started blogging, and thought it might free me up to be more open about my darkness. But enough people know about the connection between Wolf and real me that I’ve had to censor my darkness as Wolf, just as I would as real me. On the other hand, Wolf will occasionally say lighter things that I wouldn’t, so in that sense, it’s been freeing. At some point in the future, when I stop practising medicine, I’ll probably make the connection between the two names more public.’
One becomes two; two become one. Has the pseudonym ever been so fluid before now?
Thanks to my interviewees Deborah Swift, Elizabeth Spann Craig, Wolf Pascoe and Carol Cooper. And to JenFoxd for the Penguin Superman pic.
Over to you. Have you used, or considered using a pen name, or publishing under more than one name? Do you have any experiences to share or questions you’d like to put? Let’s discuss.
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.
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.
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.
This seems to be ‘back to basics’ week on this blog. On Thursday I scrambled out a fresher’s guide to ebooks in response to questions at a speaking engagement. And this podcast, recorded the previous week, seems to be the perfect complement. It’s with Nick Thacker, who has a regular show called Self-Publishing Answers, where he endeavours to discover the secrets to writing, publishing and selling successfully.
I’ve answered many of these questions before, but I found it interesting how my perspective on some of them has changed with experience. Especially book marketing. Normally when I’m asked about selling books, I find I run out of useful advice very quickly. I don’t buy advertising, I don’t game the charts and I don’t price strategically – all things that most indies do to get the best marketing advantage. The marketing I do is guesswork, whim and finger-crossing, mainly. Even so, I’ve noticed certain patterns that work – which I didn’t realise until I started discussing them with Nick.
This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
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 money (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.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But 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.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 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 reissue their backlist or publish in co-operatives with other authors. 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 – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
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.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.