Tag Archives: self-publishing

Guest Post by Michael Rothman

Certainly the first major milestone in writing a novel is getting the first draft complete. Oddly enough, this is sometimes the best time to take a step back from the manuscript and give yourself a little time away from it.

The reason I say this is because when you want to go through your initial self-editing phase, you probably want to approach the manuscript as a reader. Try to get a bit of a separation from the book.

Ultimately, you aren’t writing for yourself (or typically you aren’t), you are writing for an audience and you want to scrutinize your novel as a reader would. Given that, there are many folks who can speak much more authoritatively about the editing phases than I can, but suffice it to say that self-editing is a skill that should be learned by any aspiring author, but that shouldn’t be confused with not needing an editor.

This leads me to the first of the five topics I wanted to cover.

“¢ Editors – the folks who find the booboos, clean up the scrapes in your manuscripts, and teach you lessons you didn’t know you needed to learn.

Despite my relatively fewer years in the industry, I’ve been lucky enough to have worked with some of the best editors in the industry, you know who you guys are [Betsy, Pat, Joshua]. Given that experience, I can say that without a doubt, any author who hasn’t put their manuscript through professional-level editing is likely doing their readers a disservice.

o Authors Behaving Badly

ï‚§ How would you react if someone told you your child was ugly, and stupid? Not well I’d imagine.

Well, what do you think your reaction would be like when you toiled over a manuscript only to get it back from the editor awash in red ink?

Many people’s first reaction is to throw a fit, call the editor all sorts of names, and maybe throw the nearest object against the wall.

Let me recommend something a little different.

“¢ Consider the feedback, let it soak in, don’t write that nasty e-mail you were about to write, and wait a day or two.

o Authors are a defensive lot. In many cases, they find it difficult to accept criticism of their work.

o Let’s be realistic and say that unless you’ve hired a complete cretin as your editor, they likely make a point or two you should consider.

o Had you really achieved perfection in your manuscript, you wouldn’t need an editor, people would be waiting for your golden words to spill out as you type them.

ï‚§ Realize that you don’t know it all

“¢ Something that sounds good in your head, oftentimes doesn’t sound nearly as good in the written form.

“¢ Editors will point out things that you were otherwise blind to. Many times it isn’t because you’ve written something grammatically incorrect; perhaps the editor noted that using the word amazing five times in a single paragraph might be a touch overkill. A thesaurus is sometimes an author’s best friend.

“¢ A professional editor is simply trying to improve your manuscript inasmuch as helping it flow better, sound better, and be more intriguing to the audience that you’ve chosen. For instance, I had an editor point out a certain scene in one of my current novels that might have been too much for the age group I was targeting. After a fair amount of consideration, I agreed with her. And that leads me to the next point about the author/editor relationship.

o It is the Author’s book, not the editor’s

ï‚§ As an Indie author, you ultimately control the words in the book. When you are with a publishing house, some of that control is not absolute.

ï‚§ If an editor gives you feedback, they are oftentimes giving you either specific items that they felt were wrong or inconsistent, or they were speaking in general terms. Either way, it is the author’s decision if and how they act on that feedback.

“¢ If you generally agree with the editor’s comment, then by all means, go ahead and fix it.

“¢ However, if you don’t agree with the editor’s comment, make the call that you feel suits the story best, because sometimes the editor simply isn’t right.

o I’d note that I probably take 80% of the editor’s comments and do “something” with them. They usually bring a unique perspective as a different kind of reader that is invaluable in assessing your writing and the manuscript as a whole.
o Editors are the ultimate teachers of writing lessons

ï‚§ I’ve learned more about writing from having to deal with the editor comments than I’ve learned from writing entire novels. I can’t stress enough how important a good quality editor is. Find one and don’t let go.

“¢ Book Covers

o As an Indie author, you will find yourself in a position to control how your novel is presented to the world. In real life, we say that a first impression is always very important. Well, your book’s first impression will inevitably be its cover.

Given that, unless you are artistically inclined, you will likely need to consult with someone on the creation of this cover. What typically happens in the publishing houses is that publisher engages with an artist and hands them the story or a particular section of the story and oftentimes a scene from the manuscript is pulled to represent the book.

Below is an example of just such a scene in my second book, Tools of Prophecy.

You’ll notice that it is a landscape picture intended to serve as a cover for a print book, so the portion on the right would be the front cover, and the portion on the left would wrap around toward the back. In this case, the scene is from a climactic portion of the story that was pulled from the finalized story material.

Clearly, for an e-book, you wouldn’t need the complete picture, but only the right-hand portion of this. Below is an example of the same illustration, but finalized for production purposes.

“¢ ISBN Acquisition

An International Standard Book Number (ISBN) is something you’ll inevitably have to acquire to sell your book. This is typically used to uniquely identify a book. Kind of like your driver’s license number uniquely identifies who you are, the ISBN number identifies what book a buyer or seller is dealing with. I’d note that even with a single title of a book (e.g. Tools of Prophecy) it likely has at least four different ISBN numbers. One for its paperback edition, another for a hardcover edition, another for a Kindle e-book, and another for a Nook e-book.

A very common purveyor of ISBN numbers is a placed called Bowkers. You can buy a single ISBN number from them, or 1000’s. The author’s/publisher’s choice.

“¢ E-book formatting

One thing that isn’t obvious for most people is the need for special formatting in an e-book. Even though there are hundreds of articles that talk in detail about the formatting requirements, there are some software utilities that make things very simple, and I strongly recommend looking into them (especially since they are free.)

Look at one in particular; a software package called Calibre.

Another thing that I can comment on, that I’ve rarely seen mentioned in articles is the need for a manuscript (even when using Calibre) to be conscious of how they use fonts. For instance, I have on the title page, a font with shadow effects that I really like the look of.

However if I were to use it as-is, the Kindle/Nook platforms would make the title page look like garbage.

The trick for this is to take a screenshot of the font on your computer, and in the .doc file you use for your e-book creation, embed the screenshot of the title as a graphic. This way, the e-book viewers will read the content and not attempt to translate it in some funky manner. It will look like you want it to.

“¢ Distribution methods

At this stage, you’ve written the book, you’ve gone through editing phases, and your hired gun of an editor has kicked you in the teeth and you’ve recovered. You have a cover that you don’t hate, and you even have an ISBN number, and the formatting of your book is complete. Pant…pant…pant… it’s been a long haul.

As an Indie author, I believe 90%+ of the volume you’ll likely see will come from e-book sales.

Why? Well, e-books are typically cheaper than print books, and in most cases, you’ll find it difficult to get print books in front of the noses of purchasers. Those are the facts as I see them.

Given that, I do have a few recommendations.

I’m a huge believer in the Amazon venue of distribution. No, I don’t own stock, nor am I an employee, nor do I know anyone who is one. From what I can tell, I’ve see easily ten times the volume of material goods moving through Amazon compared to its nearest competitor. I’ve seen this with my own books, and I’d guess others see similar things as well. That being said, I’ll only mention the three most commonly talked about distribution venues. Amazon, Barnes & Noble, and Smashwords. Google is your friend for details on each of these things, and in the smash allotted, I’d look up the keywords I mention here if they are unfamiliar.Even though I have seen a very distinct majority of sales through Amazon, that doesn’t mean I wouldn’t take advantage of other venues. I would certainly use Amazon’s KDP service (Kindle Direct Publishing) for making an e-book available. Also Barnes & Noble’s PubIt service is their equivalent of the same thing, just a slightly different technical format, both of which are supported by the Calibre software I mentioned earlier.
I’m personally not a big fan of Smashwords, though many people use it because of its simplicity. They take an extraordinary amount of money for services that almost anyone can do themselves – especially if you’ve gone through the trouble of getting an editor, cover artist, etc – I don’t personally see the advantage of using Smashwords for general purpose distribution. I would limit their use to target distribution areas that aren’t already covered by Amazon or B&N. In truth, you likely won’t be missing much if you don’t use them at all, but that’s strictly my opinion.

I hope this has been helpful, and if there are any questions, just let me know. As it is, I’m nearly double the word count that Joshua asked me to stick to–but I don’t always listen to my editors.

Mike has had a long career as an engineer and has well over 200 issued patents under his name spanning all topics across the technology spectrum. He’s traveled extensively and has been stationed in many different locations across the world. In the last fifteen years or so, much of his writing has been relegated to technical books and technical magazine articles.

It was only a handful of years ago that his foray into epic fantasy started, but Mike is a pretty quick study. He’s completed a trilogy, has a prequel under consideration with editors, and is actively working on another series.

In the meantime, if you want to see his ramblings, he lurks in the following social media portals:
Twitter – @MichaelARothman, Facebook, his blog, and his books.

The Write Illustrator

April 22, 2013

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Guest Posts The Writing Life 3 Comments

Guest Post by Jennifer Miller

I want to thank Joshua Essoe for inviting me to write an entry today! I’m going to talk with you about visual artwork for your book-for most, this means cover art. Unlike many bloggers here, I am a visual artist, and not an artist with words, so if you make it to the end, pat yourself on the back.

Before I begin, I wish to make clear that I am going to focus on those writers that intend to self-publish, or publish with smaller independent publishers. Large publishers tend to have their own artists that they work with; sometimes the author has little say in who illustrates their cover. Exceptions to this might be illustrated children’s books and things like graphic novels, that have a lot of art on each page. That is a subject for another post entirely. Pressing on….

You have a great story. You stand behind it, and you are ready to publish. Time to slap some art on that thang and call it done! The theory is simple; you want something that instantly tells the reader something about your book… perhaps a mood, or a key scene, or even just a mysterious glimpse to grab their attention. The cover is your product packaging, so some care must be considered beyond “put a nice picture on there.”

Okay, so you knew this was coming: “You can’t judge a book by it’s cover.” This is, of course, true about the story, but it is hardly a good reason to dismiss the cover. While I am admittedly biased, I am sure that if you asked around, I am far from alone: people notice the cover. The book is not defined solely by its cover, but certainly a cover can greatly influence who notices your book, how many people notice it, and why they notice it.

Check out this quote: “The cover may very well be the single biggest piece of marketing that book will receive,” says Paul Buckley, the Vice President Executive Creative Director at Penguin Group USA. “For first time authors and writers that have not yet built up a big following, the cover may be the only thing that gets a reader (or reviewer, for that matter) to physically pick the book up.” (source below)

While e-books have started to pick up steam, both book types benefit from having eye-catching art on the front. In fact, some suggest that e-book covers are just as important than those on physical books, because online buyers are presented with a myriad of thumbnail images when browsing on the most popular sites. The most eye-catching images in the thumbnail soup can have a big impact on what pages readers open up to further investigate. In the physical world, I cannot begin to count the number of times I have picked up a book based on the subject matter on the cover. Whether I was delighted or disappointed with the contents of the book is beside the point–the cover got it in my hands and got my eyes reading that wonderful text inside….

For much more reading on the importance of covers, check out this article.

Well, you’ve decided you want a cover, and you have the freedom to select the artist you want. Where to begin? Some of you might have an artist in mind for years, or some of you might have no idea. One way to start out is to consider your genre and begin your search that way. There are many websites out there; some are direct galleries on personal artist websites, and some are a huge mosh pit of everything. Browsing and searching might take some time, so kick back and enjoy the visual roller coaster.

Jennifer Miller's artwork for Song of the Summer King by Jess Owen. — Jennifer Miller’s artwork for Song of the Summer King by Jess Owen.

Once you find someone that tickles your fancy, pay close attention to their subject matter and style, and imagine that style on your cover. Visualize what subject matter you want–is it radically different from anything the artist has in their gallery? One thing that surprises me as an artist is that sometimes I will have someone in love with my style, but pays no attention to my subject matter… or, someone that is in love with my subject matter, and pays no attention to style. By all means, artists do branch out, and it never hurts to ask! But… do not be surprised if the photo-realistic artist is not keen to paint an anime-style cover for you, or if the artist that paints landscapes says ‘no’ to your cyber-punk cover. You may be pleasantly surprised, of course, but observing the artist’s strengths can only help you find someone that will mesh well with your project!

Another important consideration is time. For some artists, rolling out a complete painting in a short period of time is no big deal, and some people do work better under stress. For most artists though, we have a great many projects that have deadlines throughout the year. Asking for a fully detailed cover painting just days before you hope to publish is a good way to get a “sorry, I cannot…” letter in return, or… at the very least, some pretty stiff “rush fees” to cover the all-nighters that such a project entails. Different artists can work at different speeds, but a really nicely-detailed piece can take me more than one hundred hours. This is not counting the investment of time in research, and communication to make sure everything is on track. It is not unreasonable to consider contacting your potential artist at least six months before you have a deadline; some high-profile artists might need more advance warning than that.

Cost is something I am only going to touch on lightly because, frankly, this is a wild variable. I like to think that artists and writers have a sort of brotherhood (I think of it as the Brotherhood/Sisterhood of Underpaid Creative Persons). We both know what it is to do something you love and probably not get paid much for it. We both know what it’s like to be self-employed, and how much of our money just flies right out the window to the tax man and bill collector. Just as you would hope that someone would be willing to pay fairly for your time, please consider paying an artist fairly for theirs. I have found that most writers are amazingly cool about this (go, Brotherhood!), but I have had a fair number of rude individuals that tried to convince me that my time and skills were worth nothing. There is an artist out there that will work for any cover budget you have, but you will probably get what you pay for. Investing in a good cover is one of the most important investments you place in your book. However, don’t be deterred if you can’t afford much. Look for artists whose work is simple and has less time invested. If your artist has any sort of following, consider the amount of traffic simply having them do the cover might bring you. Once they have art published on your book, they have an investment in your book now too.

Rights and contracts: this is something that a lot of authors don’t consider until their artist is asking, “What rights do you need to buy?”

Our Forests - Digital.jpg by Jennifer Miller — Our Forests – Digital.jpg
by Jennifer Miller

Uh, what? Now, I am not a lawyer, nor do I play one on the internet, but this is always, always, always the time for contacts. It doesn’t matter if it’s your best friend, or your sister’s boss, or your grandma. Get a contract written. Be clear what is expected from the start, and who gets what rights, and what those rights cost. This can, and has, saved many a proverbial rear-end in the past. Authors don’t often think, “Well, this one will end up on the bestseller list, and get turned into eighteen movies, and will sell millions of action figures, and t-shirts at Hot Topic.” But… sometimes, just sometimes, this actually happens. Research some the high-grossing current authors and you will soon realize that they rarely knew something was going to make it big. Knowing who owns the art for what purposes is a big deal when this sort of thing happens, and the only thing worse than being enemies with your artist is fighting each other in court. Don’t do this. Be friends, and write contracts. If you need help with this, there are a lot of websites out there than can help you, and some even provide contract templates. When in doubt, ask a copyright lawyer.

Communication is always important. This is where an artist-writer relationship can be made or broken. Of course, be polite for goodness’ sakes… but don’t waffle. Be clear about your expectations from the start, what you want, when you want it, and if you want fries with that. Expect your artist to do the same; if you need to, ask them to please describe the process so you know what to expect. Don’t be afraid to ask questions, and remember that even if you have a very clear mental image of the artwork, the artist cannot read your mind. You are a writer, by George! Use your words to paint them a picture so they can paint you something you are pleased with.

When author and artist really mesh and have a good time with the process, it is a beautiful thing. Mutually helping one another through all parts of the process, and beyond, is part of the wonderful community building that bonds creative people together and keeps them from going completely off the deep end. We are the Brotherhood of Underpaid Creative Persons, darn it, so let’s make something wonderful together!

Jennifer Miller resides in NY state in a rural area, surrounded by parrots and chickens. She’s an award winning professional artist that specializes in fantasy and wildlife artworks. Her work is sported on the cover of several published fantasy novels, as well as children’s books and a few anthologies. In the past she has freelanced for Nickelodeon magazine and Baen publishing. You can find more about her and see her work at www.featherdust.com.

Typography: A Tale of Two Covers

April 20, 2013

fictorians

Guest Posts Joshua Essoe Publishing The Writing Life 3 Comments

A follow-up by Jess Owen to yesterday’s post on typography.

When I set out to self publish Song of the Summer King, I knew I wanted everything to look “traditional.” I wanted it to look polished and professional, like something put out by one of the Big Six. I invested in the artwork by hiring a freelance artist who’s well known for her fantasy, wild life and particularly gryphon artwork. I invested in an editor with a great track record who I believed understood my goals for the story. I had plans for a big Kickstarter fund raiser, and wanted to hire a printer instead of going POD.

With all that done, somehow, I still thought it was fine to slap some letters on the front in a free, “medieval-looking” font, and call it a day. Fortunately my friends had my back. Josh Essoe sent my cover art around for some critiques from some pros, and very honestly told me, “You’ve invested too much in this book not to get some professional lettering on the cover. Talk to Moses Siregar; he’s put the same kind of effort into his work.”

So thanks to the power of author friend networking, I contacted said successful self-publisher and he gave me the name of his typographer, Terry Roy. She seemed excited about the book, I liked her portfolio, and so she put together a package deal to not only do lettering on the front of the e-book and the hardback edition, but to handle the interior layout and format the books for printing and uploading to Amazon. And thank goodness she did.

I think sometimes we self-published authors think we have to do everything ourselves. But just as I would hire a professional to tune up my car, I now know the value of investing in professionals to wield their magic over my stories. It’s a matter of time, energy, and expertise.

I’m so happy with the final product and with the team that fell together to make it happen. I truly believe all writers need a master mind group to make their work really stand out, and I know for my book, I couldn’t have asked for more. Below you’ll find my cover before and after the professional typography and design.

Jess Owen has been creating works of fantasy art and fiction for over a decade, and founded her own publishing company, Five Elements Press, to publish her own works and someday, that of others. She’s a proud member of the Society of Children’s Book Writers and Illustrators and the Authors of the Flathead. She lives with her husband in the mountains of northwest Montana, which offer daily inspiration for creating worlds of wise, wild creatures, magic, and adventure. Jess can be contacted directly through her website, or the SOTSK facebook fan page.

Typography: It’s Not A Cover Without It

April 19, 2013

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Guest Posts Publishing The Writing Life 4 Comments

Guest Post by Terry Roy

Many authors go on the extravagant hunt for the best cover art out there. And while cover art is an important part of creating an attractive selling package (your book), bad typography can ruin it. Without typography, it’s not a book cover. It’s just a photo, an illustration, a painting.

What is typography? Glad you asked! It’s the art of arranging letters and words attractively on a page. Whether or not that page is a book cover or an interior narrative page, a billboard on a highway or stamped on a grocery bag you take home from the market. Most professional graphic designers are trained in this. Many others creating book covers nowadays are not. If you’re hiring someone to do a cover (to me, this means the complete package), or add typography to the image you want as the background for your cover, make sure you look at their portfolio and like what you see. Forget the pictures. Make sure you like what you see even if the titles and author names were on solid color backgrounds. Great typography design can carry itself, images added or not.

I can write pages and pages on this, but to keep it simple, I’ll distill it to basics.

1. When you commission artwork or start your image search, remember you need to display large, visible type on top of it.
Too many people sacrifice the visibility of the book title or author name so they don’t cover up the art. In my opinion–that priority should be the other way around. The art shouldn’t interfere with the stand-out impact of the author’s name and the title of the book.

2. The typeface you choose for the title can set the mood and tone of the book from the start. Choose wisely.
There’s a reason that many thrillers, spy stories, and suspense novels use a simple headline font like “Impact”—it denotes urgency, demands attention. Distressed or goth fonts get used on gritty, post-apocalyptic stories or dark vampire stories. (Be careful here, many distressed fonts won’t “pop” without a lot of help and unless you are a bestselling author, you don’t want your title blending in with the background art.) Fancy script fonts with lots of loops and swirls remind us of romantic invitations–so we see some of that on romance novels. These examples are generic. But please, don’t just pick a font because you think it’s cool. It has to match the story, and feel right with the title. Font sites often give you the option of typing in your title so you can preview it as you scroll through pages of choices. Just try it—see how it changes the mood and tone with each new look. (I spend hours trying fonts on titles, like some people try on clothes.)

Make sure your font choice–or the font choice of your cover designer– is legal to use commercially.
Please respect fonts tagged “for personal or private use only” and do NOT use them on your book covers. Often fonts at free sites were created to emulate a copyrighted, restricted-use font face. It is NOT okay to use these fonts on your books or anything you put out for sale or download in a public marketplace. (“Bleeding Cowboy”, which I see on a lot of vampire or paranormal books, is a good example. Lots of people are using it, but unless they got a licensed copy, or written permission from the designer, they shouldn’t be.) Go to a site like Fontspace and use the “Commercial Use Friendly” filter in the search. That way, free fonts that are cool to use on book covers and other projects will show up, without tempting you with the Personal Use Only fonts.

3. Visibility and Readability.
Now that you have the right font for your genre and title, and another for your name (a simple, non-fancy font will do in most cases) the third important thing is to make sure it’s clear, sharp, and readable. Remember, in the online market for both e-books and paperbacks, the reader is either spotting you first in a tiny ad or a tiny thumbnail image in a New Releases list. Even if your cover art loses fidelity at thumbnail size, the title, at least (if not also the author name) should stand out sharp and clear. Color choice is important here. It’s hard to go wrong with the classic choice of black (offset by white), or white (offset by black) when you’re just not sure. No matter what color you choose, contrast with the background is paramount. There should be enough contrast to “pop” that title even in small sizes.

Now… go out there and practice! One final tip I’ll leave with you today: study the bestsellers of your genre from the big name publishers. If you are a do-it-yourselfer, copy one of these covers. Import it into your graphics program and make it a locked layer. On a layer on top of that, challenge yourself to duplicate layout of the title, authorname, and any other print. You don’t have to match the typeface exactly, just get one close enough. (In graphic design courses, students are often challenged to duplicate the layouts on ads and product packaging–it’s a great hands-on learning exercise.) Even if you don’t want to tackle your cover typography on your own, studying what’s hot from the big pubs in your genre can give you a better eye for getting quality work from the person you hire to do it for you.

Terry Roy has been drawing ever since her fat little fingers could hold a crayon. Digitally illustrating and designing beautiful books, inside and out, since 1998. Her experience in digital art started in 1992 when the first MS DOS version of Photoshop was released for Windows computers. She can now be found at TERyvisions, and her blogsite.