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Posts Tagged Triskele books
An authors’ collective is a half-way house between solo self-publishing and a formal publisher. Peter and I were thrilled to secure this interview with two members of Triskele Books (@triskelebooks ), crime author Jill Marsh (JJ Marsh or @JJMarsh1, bottom left ) and designer and author Jane Dixon-Smith (bottom middle).
We bombarded them with questions about how the collective works, what the members do for each other, how they make publishing decisions … and how they fit all the extra duties into their busy lives.
Who’s Peter, you might ask? He’s independent bookseller Peter Snell.
Stream from the widget below or go to our Mixcloud page and binge the whole lot.
PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.
You might remember an exciting post here in the last days of 2017 – the Triskele Big Five mentoring competition. Triskele is a publishing house owned by five authors (various posts about them here) – and in the months since that announcement they have been hunting for an unpublished manuscript to mentor. Once they’d gathered their entries and whittled them down to a shortlist, it was my job to choose the final winner.
I wrote in my original post that I anticipated a few challenges and lessons from the task – and I wasn’t wrong. Especially when I found the finalists were a widely varied collection of styles, genres and approaches. How to judge them?
Well, reader, I found a way – and it was all rather interesting. Pictured here is the winner, Philippa Scannell. Hop over to the Triskele blog for all the details … including my attempts to determine the winning formula.
Have you got a manuscript that might be ready by July 2018? You might be interested in this competition from the writing/publishing collective Triskele Books. And I’m honoured to announce that I’m the judge in the final!
If you’ve been around this blog a bit, you’ll know that Triskele is a publishing house owned and run by authors. The members provide all the support and editorial finessing that occur in a publishing house (many other posts about them here).
Anyone can enter, whether it’s your first book or whether you’ve published many times before. Triskele are looking for a standout manuscript they can help along and the winner can tailor their input to their needs – whether it’s polishing or developmental work or help with the nitty-gritty of publishing. Last year’s winner, Sophie Wellstood, was so excited after working with Triskele’s feedback that she pitched to a literary agent – and had representation in three days. The only proviso is that the manuscript must be unpublished. Other rules? You’ll find them here.
Triskele’s team will sift through the entries and choose six finalists … and then it’s my job to pick the final winner! I’m sure there will be adventures and insights to report, so stay tuned. If you want to tweet it there’s a hashtag #thebigfive. And perhaps you’d like to have a go.
If you’re exploring characters for your story, this exercise might help. Triskele Books is holding a creative writing summer school and I’ve contributed this snippet to uncover interesting tensions that make a scene sizzle. And once you’re there, you’ll find several other storybending assignments from seasoned fictioneers. Step this way.
Indie authors: are you making these mistakes with your print books? How to look professional on the page
This Friday, around 50 indie authors (including yours truly) will gather in Foyles bookshop in London’s Charing Cross Road to showcase their books as part of the Indie Author Fringe Festival. We’ll see some swish productions from experienced selfpublishers – but not all indie paperbacks look quite so slick.
Peter Snell, my bookseller friend and co-host of So You Want To Be A Writer at Surrey Hills Radio, is a staunch supporter of indie authors – but he often shows me paperbacks with rookie mistakes that scream ‘amateur’. So here’s our checklist of goofs and gaffes – and how to make sure your book passes muster.
Some indie books launch straight into the text, which looks rather underdressed. Why?
Look at the opening pages of any print book and you’ll see the following:
- a half-title page – this shows the title on its own, or the title and author name in the text font, or a brief (one-paragraph) introduction to the author and the book
- a copyright page
- a full title, maybe echoing the cover typography, with author name and the publisher imprint
a page that lists other works by the author
- contents page
- start of text
You might also have a dedication page before the text starts or a foreword (which is an introduction not written by the author).
On the other hand, some indie books dither around too much before the text, with pages of acknowledgements and biographical material.
The reader wants to get on with the book. So front matter should be concise and useful – eg contents pages, of which more in a minute. Contents pages go very wrong.
Right or left?
Certain pages have to be on the right, others on the left. Here’s that order again:
- half-title – right
- copyright page – left
- full title – right
- other works, dedication etc – left
- contents – right
- start of text – right
Yes, that’s two rights. If necessary, insert a blank page so that the text starts on the right. After chapter 1, though, you can start new chapters on a left. You’d have to go through mad contortions otherwise. But if your book is divided into sections (like My Memories of a Future Life) you want those to start on a right.
You don’t usually need a contents page in a novel. Does the reader need to know that chapter 11 starts on page 49? I draw your attention to Exhibit A at the start of this post.
If your chapters have titles of their own, you might list them to whet the reader’s appetite. But it’s not compulsory, and novels, memoir and narrative non-fiction don’t usually need contents pages.
Instructional and reference non-fiction, on the other hand, definitely needs a list of contents. Here’s an example of one that is helpful to the reader and also a good appetiser for the book. (It’s Reports from Coastal Stations by Geoff Saunders.)
Who’s the author?
Some indie books fail to give any information about the author. Readers like this context – who the author is, where they live, how many books they’ve written. If the book is set in a special world (eg the circus), this is where you reveal you were the offspring of trapeze artists before you ran away to study accountancy. If you’re writing non-fiction, readers need to know why you have the temerity to bother them with your opinions.
You might put this in the front matter, if you can keep it brief. Or it might be on the back cover. But don’t miss it out.
Speaking of back covers…
Back covers need to look properly furnished. Make sure you have
- a punchy summary
- an enticing quote, if possible
- author details, and preferably a picture
Other sundry howlers that stop your book being taken seriously:
- white paper stock for fiction, memoir or narrative non-fiction (better to choose the cream-coloured paper)
- squashed typesetting and tiny print – authors do this to reduce the pagecount and save costs, but it makes the book a chore to read (there’s more here on formatting your book for print)
- narrow margins, either around the edges or in the gutters (the central margin). Again these decrease readability, and if the gutter is too narrow, you have to break the spine to read the book.
- amateurish or unnecessary artwork. Tables and charts might be necessary in non-fiction, but probably aren’t in adult fiction. Maps and family trees might be helpful for certain genres of fiction, and facsimiles of handwritten notes or other ephemera might funk up a YA novel. But you might not need your aunt’s watercolours, unless a lot of your straight-talking friends agree they add to the book’s charm. (They usually don’t.) And covers are a whole subject by themselves. (More about covers here.)
- lack of an ISBN – CreateSpace and Lightning Source require an ISBN, and CS will issue you with one if necessary. But Lulu or local printers will let you print without them. Most readers probably wouldn’t notice if your book lacks an ISBN, but it really, really annoys Peter, who is still reeling at the author who had regained the rights to her work and printed 1000 copies without obtaining an ISBN. (There’s more here about ISBNs.)
- Peter also grumbles about books that are in a big or unusual format that won’t fit on his shelves. And cut-outs or holes in the jackets, because they catch on other books and get torn. (They probably also cost you more.) He does, however, approve of French flaps, which make a book more solid, though they’re not standard issue and most people won’t mind if you don’t have them.
So, to sum up. The well-dressed print book:
- has a complete set of front matter that is concise and helpful
- follows the conventions of right and left
- has a contents page only if necessary
- gives information about the author
- has an informative (and enticing) back cover
- doesn’t cram the page with type
Have I missed anything out? Or do you have any questions? Head for the comments!
If you’re in or around London next Friday, come and say hello at the Indie Author Fair, which is part of the Indie Author Fringe Festival in association with the London Book Fair. Entry is free, though you need to register and print out a ticket. More here. If you’re further flung (and even if you’re not) you can take part in Indie ReCon, from April 15 to April 17 – an online festival of indie movers, shakers, experts, veterans, trailblazers, and the odd person who was surprised to find themselves volunteered. You’ll find seminars, live chats and roundtables and …. oh just click this link. http://indierecon.org/indierecon-events/ To wet your appetite, here’s a video discussion from last year in which a few authorly types talk about how we tame our creative muse.
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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.
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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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As you might have seen from various flurries on Facebook and Twitter, last weekend I gave a talk at the Writers & Artists selfpublishing event in London. There are some interesting discussion points I want to share, and some of you will have crawled out of Nanowrimo and won’t be in the mood for a giant reading task, so I’ll be posting them in short bites over the next 6 days.
Editing – many minds make your book better
My task at the event was to explain the various steps of editing and why they were important – developmental editing, copy editing and proof reading (here’s my post on a publishing schedule for indie authors ).
This care with the book content was an absolute gold standard for the day, and was stressed over and again – guided rewriting with expert help, and attention to detail.
JJ Marsh of Triskele Books in her talk on how their collective works, said that the combined critical talents of her fellow authors had made her books far better than she could have made them on her own. Psychological thriller writer Mark Edwards, women’s fiction author Talli Roland all talked about the people who helped shoulder the responsibility of getting the book to a publishable standard. Jon Fine, director of author and publisher relations at Amazon, cut to the chase by quoting thriller selfpublishing phenomenon Joe Konrath : ‘Don’t publish shit.’ (Next time I’ll just say that.)
Some of the delegates didn’t need to be told anyway. From a show of hands, roughly a fifth of them had already been working with editors, in thriving professional relationships where their limits were being pushed and they were being challenged to raise their game. If there’s one advantage selfpublishing can give us, it’s the control over our destiny and artistic output, and many of these writers were committed to making books they could be proud of.
Eek, the cost!
True, good editing comes at a cost. Jeremy Thompson of the Matador selfpublishing imprint gave grim warnings about companies that advertise editing services for just $99. And it probably seems unjust that a pastime that should be so cheap has such a steep price tag. Writing is free as air, after all. But publishing isn’t. It never has been. No manuscript ever arrived at a publisher and went straight onto the presses. It went through careful stages of professional refinement – which takes time and money.
That said, there are ways to get useful developmental help without breaking the bank – here’s my post on 4 low-cost ways to get writing tuition if you can’t afford an editor.
Thanks for the picture, Henry Hyde
Tomorrow: how long to allow for rewrites
Have you worked with an editor or critique partner who helped you improve your book? Or perhaps the opposite….? Let’s discuss!
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Today I gave a speech at The Oldie literary lunch (which was very exciting!) and they asked me to explain about making ebooks. I promised a post to distil the important details, and save them from squinting at their notes and wondering if that scrawl really does say ‘Smashwords’, and indeed what that alien name might mean.
If you already know how to publish ebooks you can probably skip most of this. However, you might find some of the links and reading list useful, or pass them on to a friend. And if you’re here from The Oldie – hello again. Nice to have you visit.
How to do it
It’s easy. Really easy. If you can format a Word file, you can make an ebook.
It’s more complicated if you have footnotes or multiple headings that might need to be visually distinguished, or you want graphics (which might not be advisable) but it’s generally easy. Have I said that often enough?
Here’s my post on how to format for Kindle, in which you’ll see how I had to be dragged into the ebook revolution. But by all the atoms in the heavens, I’m glad I was. You’ll also see the original, grey cover of the book that now looks like this.
That post includes the notes about stripping out the formatting codes and rethinking the book as a long-continuous roll of text, not fixed pages. The Smashwords style guide is also explained. (You knew you wrote that silly word down for a reason.)
If you don’t have the Word file
If you’re publishing a book that previously appeared in print, you might not have the polished Word file with all the copy editing and proofreading adjustments. Often, the author sees the later proofing stages on paper only, and any adjustments are done at the publisher. If you can get the final Word file, that’s simplest.
If not, try to get a PDF, which will have been used to make the book’s interior. You can copy the text off a PDF and paste it into a Word document. You’ll have to do quite a lot of clean-up as this will also copy all the page numbers and headers, and there will be invisible characters such as carriage returns. You’ll need to edit all of these out by hand.
Sometimes PDFs are locked. You can’t copy the text off by normal methods, but you can find a way round it with free online apps. Dig around Google and see what you find.
Another option is to scan a print copy. Depending on the clarity of the printing and whether the pages have yellowed, you may end up with errors and gobbledygook words, so again you’re in for a clean-up job. You’ll need a thorough proof-read as some scanners will misread letter combinations – eg ‘cl’ may be transformed into ‘d’ and your spellcheck won’t know that you meant to say ‘dose’ instead of ‘close’. But it’s quicker than retyping the entire book.
There are two main ebook formats. Mobi (used on Amazon’s Kindle device) and epub (used on many other devices). They are both made in much the same way, and the instructions in my basic how-to-format post are good for both. PDFs are also sold on some sites.
You need to get a cover. Cover design is a science as well as an art. A cover is not just to make your book look pretty, it’s a marketing tool. If you’re republishing a print book, check if you have the rights to use the artwork. If not, you’ll have to get another cover made. Use a professional cover designer (see later). Here are posts to clue you in:
Where I nearly made a disastrous mistake with a cover
Where do you get a good cover designer? See the books list below.
Hiring editors and proof-readers
In traditional publishing, a manuscript goes through a number of stages – developmental editing, copy editing and proof reading. If you’ve done this, go straight to formatting your manuscript. Otherwise, the following posts will help you understand what you need to do.
Daunted by the thought of an editor with an evil sneer and a red pen? Fear not, we respect you more than you know.
Getting your book on sale
The main DIY platforms to sell your ebooks are Amazon Kindle Direct Publishing, Kobo Writing Life and Smashwords (you’re getting used to that name now). Publishing on them is free and they’re simple to use. You can publish direct to ibooks, but that’s not easy unless you have a PhD in Mac. And a Mac. Besides, Smashwords (ta-daaah) will publish to ibooks for you. There are other platforms that act as intermediaries, for a greater or lesser fee, and greater or lesser advantage.
Beware of sharks. If you get what appears to be a publishing offer, read this.
Books to get you started
Written from an author’s perspective – The Triskele Trail
David Gaughran – Let’s get Digital
Catherine Ryan Howard – Self-Printed (also covers print as well as ebooks)
And some other useful resources
And, er, that’s it. Any questions?
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- Device addiction, how we treat ‘others’, and a love of horses – talking to @authorgreene about World Fantasy Award longlisted Lifeform Three January 23, 2022
- Standalone or series? Get started with this course at @JaneFriedman January 18, 2022
- No luck submitting my book to agents and publishers – should I hire a different editor? January 9, 2022
- The resilient mindset, overcoming blocks and living every moment of the creative journey – interview at @insideyourhead0 December 19, 2021
- Learning by doing: how I made my writing career – Nick Padron @nfpadron December 14, 2021
- How to cope with a hefty report from a developmental editor December 8, 2021
- Wilderness woman falls into memoir writing – Wren Godfrey Chapman December 2, 2021