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Posts tagged ‘indie publishing’

Welcome to the Fourth Quarter

Ah, September. We’re closing in on the end of the year, with less than four months to go. Are you on track with your yearly goals? What are your revised goals for the last tax quarter of the year?

Third-quarter estimated tax payments are due into the IRS by September 17th. (Yes, technically September is fourth quarter, by tax year. I understand it’s the end of the third quarter by mathematical ratios. The IRS doesn’t care about that; third quarter for taxes and accounting ends on August 31.)

For those of you who are or want to become full-time authors, and even those of you who don’t, now is a good time to put down your author hat, pick up your business manager hat, and answer a few questions for yourself. Read more

On going indie and an announcement

When I sat down in the much too early hours of the morning to write this post, I found myself at a loss. My brain is fried and the ability to come up with something new seemed beyond me. So, as I will often do when I’m unsure what to blog about, I started checking out a few writing-related sites to see what they had to say. Nothing really jumped out at me until I started scrolling through The Passive Voice. One article in particular caught my eye. I’m not going to actually discuss the article, so I’m not linking to it. However, the idea behind the article did set me to thinking — something that might be dangerous since I’m pre-coffee. Read more

Why should we look at the entire industry?

This question came up recently in comments – why should we, on MGC, report on what The Big 5 (4?) are doing, or on B&N?

1. There’s scope and scale. What business are we in? We’re in the entertainment business. We’re competing with every other entertainer out there for Joe Sixpack’s beer money – and for Jane Doe’s attention span when she wants something to take her mind off the fact that she’s in a waiting room. Read more

Reader Expectations: What’s Inside

This popped up at the Passive Voice the other day: https://booklife.com/create/art-design/06/28/2015/top-five-diy-book-layout-mistakes.html

Do your books look like books? No, not as in they have cover, pages, copyright info, table of contents, but if you borrowed someone else’s e-reader and compared your book to a Big 5 or small press book, does yours scream “Hi, I’m a bad Word to HTML conversion?” Read more

On formatting for print and digital

I want to thank everyone who took the time to tell us what topics you’d like to see us cover over the next six months or so. It really does help us to have that sort of input. While we don’t guarantee that we’ll get to ever topic, or in the exact way it was suggested, we will do our best to cover as many of them as possible. I’m still pulling the list together and I’ll be sending it out to the other bloggers later today. In the meantime, Dave kicked us off with his post about prologues yesterday.

One topic several of you requested was formatting. There were variations on the topic and a request for exercises. I’ll figure out the best way to do exercises over the next few days. I might go back to a workshop I did on formatting several years ago and update it for the purpose. But, while I figure out the best way to do that, here are links to some recent posts I’ve done on formatting for both print and digital editions.

Formatting Revisited

Formatting for Print Revisited

Formatting for Print Revisited , Pt. 2

These posts are targeted for those who are planning on going indie with their work. For those of you who are wanting to go traditional, formatting is a bit easier. The first thing you need to do is check the agent’s website or the publisher’s website you are submitting your work to. If they have special formatting requirements, they’ll be listed.

For example, Baen lists the following as its requirements:

  • Attach the manuscript as a Rich Text Format (.rtf) file.
  • Send the manuscript as a single file (do not break it into separate chapter files).
  • Synopsis and contact info needs to be in the file with your manuscript.
  • Minimal formatting, please. Do not format text boxes or sidebars into the manuscript; use block quotes. Indent paragraphs; center chapter headers and scene break indicators (###, ***, etc.); use page breaks only at the end of chapters. For emphasis, choose either underline or italics and use it consistently throughout.
  • Do not use “smart quotes”/curly quotes or single character elipses, mdashes, etc. Use straight quotes and apostrophes, . . ., –, etc.
  • Avoid non-standard fonts, and unnecessary changes in font face, size, etc. Publisher likes CG Omega and Lucida Bright.

For hard copy submission, here are some of the requirements for Baen:

  • Standard manuscript format only: double-spaced, one side of the page only, 1 1/2″ margins on all four sides of the page. We will consider photocopies if they are dark and clear.
  • Font must be readable, or we won’t read it. This means seriphed or at least semi-seriphed, 12-point or greater. Publisher likes CG Omega and Lucida Bright. Typesetter likes any standard bookface, Times Roman or Courier.

You can find the submission guidelines for Tor/Forge here. Actual formatting requirements are as follows:

  • Standard manuscript format means margins of at least 1 inch all the way around;
  • indented paragraphs;
  • double-spaced text;
  • Times New Roman in 12 pitch.
  • Please use one side of the page only. Do not justify the text.
  • Do not bind the manuscript in any way.
  • Make sure the header of the ms. includes your name and/or the title of the book as well as the page number (on every page).

So you can see the two publishers have similar, if not identical, requirements. But that’s not always the same, which is why I say to check the sites for wherever you are submitting if you are going the traditional route and trying to find an agent or publisher. That is especially true if you are submitting to a small or mid-sized press because some of them want the author to submit their work in a format that will be easily converted into digital formats (in other words, they want the author to do that part of the work for them).

So, I guess here is where I give you the first “assignment”. Look at your current work-in-progress (or the work you just finished and are trying to figure out what to do with). Decide whether you want to go indie or trad with it. If going trad, decide if you are going to try for publishers where you need an agent or if you are going to a publisher that has open submissions. If the former, start looking at agent requirements. (For example, some agents have you send the first few pages as part of the body of your email while others don’t want to see anything but your query.) If the latter, find their submission guidelines and figure out, based on those, what you have to do to get your submission packet ready.

We’ll get more into the nitty gritty of it next week. Until then, if you have any questions or if you want input on your formatting decisions, post them in the comments below.

Edited to Add: Let me know in the comments which OS you use to write in and what programs you use for writing and for conversion (if any on the latter). That will help me as I put together the next couple of posts. 

 

Later!

Indie does not mean Alone

I was talking with my mother the other day about writing and publishing. Mom is a good writer, and has nonfiction articles published, but not yet her fiction. I’m looking forward to her fiction being complete, and it’s not just that I’m biased toward my mom. But the conversation, and another comment I’d seen on social media, got me thinking. I’ve chosen an independent career, but that does not mean I operate alone.

As I am preparing a book for publication, it has already been read, commented on, edited, and not just by one or two other people. For this book I had an unusually high number of alpha readers. It had three, my First Reader, and two others I could trust not to blow smoke in my *ahem* but to tell me if they saw real problems. Most books don’t need that many – may not need any at all – but for this one where I was struggling with my confidence and inability to distance myself from the story, they are the only reason I finished it.

Once the book was finished in rough draft, I sent it off the beta readers. The comment I’d seen another author make, about only ever using two to three readers, always the same ones, and ones who wouldn’t steal the manuscript, rather boggled me. One, that height of paranoia bordering on arrogance… The manuscript is worth stealing, really?! And further, stealing when there is an easy record of who sent it to whom and when? But besides that pathology, there is a pitfall to using that few beta readers, and never changing them up. If life happens, and it will, you the author are left with even less feedback. And two to three readers is insufficient. Sarah Hoyt taught me years ago that you don’t make significant changes to a manuscript unless three people independently tell you of an issue. And you aren’t going to get that with a tiny reader pool. Also, solicit opinions outside your usual readers. If you can get someone who has never read your stuff before, that’s great! They are less likely to suffer from confirmation bias towards your work and can objectively assess it. I’m not saying send your book to all and sundry. But I am forever grateful to my beta reading pool, who have helped my writing more than they can ever know.

But it doesn’t stop there. From a cover artist, to editors, the Indie Author team is often made up of hired professionals, networked and bartered services, or some combination of those. But rarely does the author work completely alone, and when they do, it handicaps their work. If none but them see the book, they are going to be blindsided by bad reviews.

James Young, a great mil SF author and occasional guest post here, put out a terrific post on cover art, but the process he outlines for working with an artist, from price settings to contracts, is good stuff for working with any professional. I’ve been on both sides of that equation, as author and artist. Let me tell you, it’s not fun to shell out money you can’t really spare for work that never gets done. What he says about the PayPal friends payment, and no recourse? Ever wonder why I wound up becoming a cover artist? I didn’t have a choice – that money was gone, and I needed a cover, but couldn’t afford it at the time. It was a great lesson and led to good stuff for me, but it hurt. I’d rather you learn from my mistakes than repeat them. On the flip side, as an artist, I’ve done work, not collected a deposit, and been out money for supplies and a bunch of time when the author suddenly backed out. Lesson learned: don’t work with certain people and always collect a non-refundable deposit before starting work.

It’s a collaborative effort all the way, what we do. From writing groups to, well, the Mad Genius Club, the great thing about Indie Publishing is that you’re never alone. That’s why I don’t say I’m self-published. I may be pressing the button, but I have a team at my back. Sometimes I am part of that team behind an author. I get silly proud when I see my covers on great books hoping them sell well. I will always be there when someone who is struggling with their confidence about being a writer wants an ear to listen. I have friends who put up with me moaning about how this book is horrible, terrible, no good and will never be finished. In the past I’ve had writing groups and critique groups where I was anonymous (great for developing thick skin towards criticism) and prompt groups… All those people are a part of my path to publication. I’m not alone, and neither are you.

 

How fast is slow?

…And other indie myths.

When talking to indies, one of the first pieces of advice you’ll hear is to have a lot of volume, putting out X stories per year. (I’ve heard anywhere from 4 to 12 on this one.) While this is good advice, it’s neither mandatory nor the only way to succeed, and “You have to write fast to succeed as indie” is fast on its way to becoming a myth masquerading as a bedrock belief in the indie universe.

Let’s break down the reasons why.

First, the indie market (in e-book) is very young. It’s still shaking out of the initial gold rush mentality and into a mature market, and isn’t there yet. (Despite being online, it doesn’t move at internet news cycle speed.) When the bad old days of trad-only were, ah, ten years ago? This is still a brand-new market. Therefore, the people who’ve come in indie-only are, at most, only on their tenth year of this. (Most haven’t been doing it for that long, either.)

Having a lot of books out there not only has more ways for readers to find you, it also lets them binge-read once they do find you – which creates fans, and plenty of royalties. However, ten years (or less) isn’t that long a time for writing a lot of books, so the indie-only authors who naturally write very quickly, and the ones who had a lot of backlog ready to put up, were able to get ahead of the trad authors whose houses didn’t upload ebooks / didn’t have rights back yet, and the newer indies who write more slowly.

However, let me show you two examples of people who don’t have to write quickly, both midlist. First, our own lovely Sarah Hoyt. Sarah has put years of effort into writing a blog, and built an audience there, as well as building fans between her mystery books, her scifi, and her fantasy. She only has one indie book out, while all the rest are trad… and when she didn’t get a book out for two years (three since the last one in that series), she still had fairly good sales, as many of her fans were happy to read anything she’d put out. (Others may be mystery-only or fantasy-only.) However, when she gets the next shifters book out, despite it being three? four? years since the last one, I guarantee you she won’t be starting from scratch on building a fanbase or selling the series.

Second, my darling husband, Peter Grant. Despite his body’s best attempts to sneak out of this marriage by hiding six feet under the soil, I’m not letting him go (and he certainly doesn’t want to go!) However, medical misadventures have seriously slowed his production schedule from the hoped-for four a year to two a year, and then only one. He’s better now (yay!) and writing again (yay!), but despite all the dire warnings of “you must do mass volume to make it as an indie…” we actually didn’t. Now, the sales do drop significantly when it’s been almost two years between books in a series (Feb 2014 to Dec 2015), but you’re not restarting from scratch. If you keep in contact with your fans, they’re excited to get the new book in the series when you help them find out it’s available.

(Caveat: if you define “making it” as “making a living”, well, yeah. Peter did not make enough off releasing one book in a brand new genre to pay the bills for all of 2016, until the December launch of Stoke the Flames Higher. I got a day job last year, and it’s both awesome and helping offset medical bills and mortgage. This is the freelance life: money does not come in steadily, and if the reserve drops too low, it’s time to supplement the income with a job until the reserve is built back up, and you want to leave. Personally, I like this job; I’ll be staying well after the reserve is rebuilt.)

When you think about it, it makes sense: back when trad pub limited us to one book a year per author, there were still plenty of people who became fans of Terry Prachett, Mercedes Lackey, Patricia Briggs and David Weber. They all started publishing well before the ebook revolution, and they still have plenty of fans even at a slow release rate today. (Heck, there are new Heinlein, Anne McCaffery, and Prachett fans being made all the time, even though those authors are no longer with us. All it takes is a body of work and visibility, or word of mouth, same as with the living.)

So if you’re a slow writer, don’t despair. Just keep writing! And if you’re a fast writer, don’t feel you have to kill yourself to keep up a schedule if your life (or health) falls apart. Just keep writing, as you can! It does help to have a place where your fans can gather and converse, so they remember they liked you and so you have an easy way to notify them that your newest book is out when it gets there. It may take a lot longer, but that doesn’t mean it won’t happen. (Quick math – if the average time for word of mouth to spread noticeably for an author is about three years, how many books do you have that have been out long enough to start to get word of mouth recommendations?)