How to Write a Book Review

 

Authors are always clamouring for reviews. Some readers pen them automatically after they’ve read a book and have a ready-formed opinion bursting to get out, but a huge percentage of readers don’t bother. Some are not quite sure what it’s all about. Lot’s of readers are less than confident about sharing an opinion of something they’ve read, for fear of looking silly or uninformed. So here’s a quick overview of how to go about it.

Who are book reviews for?

You might be forgiven for thinking that writing a book review is primarily to flatter the author, or thank the author for writing an enjoyable book. Book reviews are for prospective readers; to inform those buyers who are browsing the Amazon bookstore, chatting on Goodreads or following on-line bloggers, to decide if they might enjoy the book as much as the reviewer did. 

What to include:

  • The best single rule to remember is this: Only write about the actual book!
  • You can include a very brief outline of the story, but remember the book description is already right there, so consider these points: Was the story believable, did it keep you engaged right to the last page? Did the structure of the plot work for you? If it’s a mystery, was there one?
  • The characters. Did they seem real, multi-dimensional people?
  • The author’s writing style. How was it for you?
  • Your personal enjoyment of the book and whether you would recommend it to other readers is always an overriding strength in a positive book review. Maybe there was an experience which resonated with yourself?
  • Comparing the book or the author to other books and authors is useful. For example, if you like Jilly Cooper you’ll love this…

It’s not necessary to be literary and serious; a lot of the time a couple of sentences will suffice. On the other hand, if you like writing essay-type reviews these can be brilliant, but study book-bloggers and top Amazon reviewers to see how they go about it. (Well-written reviews often attract free ARC copies from authors : advance review copies).

What not to include:

  • Your possible relationship to the author, however vague.
  • If you need to reference the author, then use the surname only or call them the author or include their full name. Never use Christian names as it may compromise the validity of the review and some sites will remove them permanently.
  • Imagine if you saw this review on the latest Dan Brown: Hello Dan love, fabulous book, Five stars! I expect the vast majority of us would laugh, Dan Brown would most certainly cringe – but most importantly, would this sort of review help you form a decision to buy the book if you’d not read it?
  • The weather! I’m being tongue-in-cheek here but really, no honestly there’s no need to mention the weather…
  • How long the book took to arrive in the post; ie it was damaged. This isn’t the fault of the author – stick to reviewing the book. Likewise, problems with your Amazon account; ie it won’t download. This is not the author’s fault and should never form part of a book review.
  • Spoilers; giving away crucial parts of the plot and therefore spoiling it for other readers ie: I’m glad Susan was dead by chapter three.
  • Copying and pasting the entire book description instead.
  • And the worst of all: I haven’t read it yet… so one star. Why on earth do sites allow these ‘reviews’ to remain?

It’s easier than ever to leave a book review. You can write a single sentence or several hundred sentences. I do hope readers who’ve never left a book review will now consider penning their valuable thoughts… weather permitting.

Write Your Own Story

3d4ee1db5d3591084c1f57bf8a1bf37d_cool-drawing-idea-drawing-random-shapes-and-colors-coming-out-of-thought-drawing-ideas_498-700Where do ideas come from? Even if I tell myself I’m done with writing for a while – and I do, frequently – something will eventually worm its way out of my subconscious. This mutation of daydreaming is often coupled with observations of other people and happenings in their lives, as well as my own, until eventually all of these considerations are pulled together and mulled over, like some sort of fictional tombola. And for me, it’s those personal stories which add an extra layer of reality to a work of fiction. Write what you know is all about understanding your subject thoroughly, and preferably having experienced some of it first-hand.

I’ve been working with disabled people through my local RDA (Riding for the Disabled) for some eighteen months. Then earlier this year I was offered the opportunity to train as an assistant to a therapist working for WITH (Welsh Institute of Therapeutic Horsemanship). This is all about people with mental health problems, and the astonishing success of equine therapy relies purely upon the interactions between people and horses. I hope my modest experience adds a touch of reality and richness to the story of Gift Horse.

Unique-horse-assistedOf course, I’ve touched on horse-whispering techniques, therapies, and mental health issues in the Midnight Sky series, and part of Gift Horse is a natural continuation of that theme, one which this time connects more directly to my main character. Caroline is a product of her sheltered upbringing. In direct contrast her flat-mate, Niamh, is part of a loud, sprawling Irish family – including the gorgeous but licentious Rory O’Connor; Caroline’s nemesis. Unfortunately, Caroline is intent on pleasing everyone except herself, and there’s a price to pay…

Gift Horse is a contemporary time-slip novel about the choices women make, the healing power of horses, and the devastating consequences of human error.

silhouette-1992390_960_720I tend not to plan too much, other than factual things like dates, and timelines. And I don’t have a messy desk with endless notes stuck to my screen or big notebooks overflowing with complicated scribblings. What I do have is a good instinct for the order of things. I think this comes from reading a lot of good fiction and learning why and how something works; what to hold back, when to reveal, how much to tell, what to show, which scene works best as dialogue, or narrative. This balance will be slightly different for every writer, the literary stamp of personal style?

If there’s a parallel to be drawn between trying to break into commercial publishing and staying true to myself as a writer, then for me it’s the creative freedom to write the books I want to write. So many mainstream books are all following the same trend, and some of them feel like different versions of the same book! This might sound a bit like sour grapes, but I prefer to let a story grow and mature until it’s ready to be picked from the vine, and there’s a tremendous satisfaction in penning a story which is unique to me. 

‘Ruth digs up the bones of what really matters to the human psyche and Gift Horse is no exception.’ John Hudspith, Independent Editor.

Gift Horse Cover MEDIUM WEBImagine living eighteen years of your life around a mistake…
Caroline Walker’s daughter suffers a horrific riding accident. Her distraught parents wonder if she’ll ever walk again, let alone ride. And when Mollie’s blood group is discovered as rare, her husband offers to donate blood. Except Ian is not a match. In fact, it’s unlikely he’s Mollie’s father.

Eighteen years previously, Caroline had a one-night stand with Irish rock star, Rory O’Connor. Caroline fell pregnant. Deeply flawed boyfriend, Ian, was overjoyed. And Caroline’s parents were simply grateful that their daughter was to marry into the rich, influential Walker family.

Caroline turns to Rory’s friend Connor; and although his almost spiritual connection with his horses appears to be the balm she needs, Caroline cannot forget Rory, or her youth – both lost to a man she never loved. Eighteen years on and after surviving cancer Rory lives as a virtual recluse in the Welsh mountains. Through his well-meaning but interfering sister, he is shocked to discover he has a teenage daughter. Or does he?

Someone has made a terrible mistake… someone is going to get hurt…

mybook.to/GiftHorseJANRUTH

Away For Christmas?

Away for Christmas Cover MEDIUM WEB Jonathan Jones has written a novel. Losing his job a few days before Christmas means the pressure is on for his book to become a bestseller, but when his partner drops her own bombshell, the festive holiday looks set to be a disaster. When he’s bequeathed a failing bookshop in their seaside town, it seems that some of his prayers have been answered, but his publishing company turn out to be not what they seem, and when his ex-wife suddenly declares her romantic intent, another Christmas looks set to be complicated. Is everything lost, or can the true meaning of words, a dog called Frodo, and the sheer magic of Christmas be enough to save Jonathan’s book, and his skin?

Away for Christmas is about the joy and pain of publishing books, the joy and pain of fractured relationships, and of course, the joy and pain of Christmas itself. The festive period is not always fun for everyone, but most of all, this is a story about staying true to oneself and looking for the real Christmas spirit beyond the baubles and the glitter. 

The story is set over three Christmastimes, and because I feel sure you’ll be looking for a few hours of warm and cosy escapism at this time of the year, I can assure you that there’s a happy ending by the time Jonathan makes it to 2017. 

Regular readers will know that my characters tend not to be in the first flush of youth, and that the joy and pain of relationships are often par for the course. Christmas is very much a family time and can unearth a multitude of unwelcome emotions and in the case of my character, present plenty of troublesome hurdles before the festivities can be enjoyed. His ex-wife doesn’t always make life easy, but Jonathan is determined to be a better dad, against all the odds. 

Facebook Xmas promoAnd finally, the joy and pain of publishing books! There are some great publishers out there, ones who achieve results, look after their authors and understand the industry from the ground up. This story isn’t based on them.

A story for readers and writers. It’s no secret that I’ve been round the houses and back again with regard to writing and publishing. Thirty years ago I used to believe that a good book would always be snapped up by a publisher regardless of genre, style, and content. In the real, commercial world, this just isn’t true. I see on a regular basis, writers excited by offers from vanity publishers, or those who operate under the guise of assisted publishing, not realising the implications until it’s perhaps too late. Even contracts from those real publishers with seemingly no pitfalls or upfront costs, can dissolve into a horribly disappointing experience. Of course, my poor character thinks he’s landed lucky when a small publisher offers him a three-book deal. What could go wrong? If you’ve ever dreamed of writing a book or maybe you’ve just typed THE END to your manuscript, you might think twice about your next step…

finished_spiced_01

Bookmuse Magazine: “If you’re a writer you will laugh, despair and sympathise with Jonathan Jones, and the trials and tribulations he faces as he battles to become a published author. And if you’re a reader, you’ll be captivated by the excellent story-telling that weaves Jonathan’s complicated life into a page turning drama. A real feel good novella, perfect to curl up with on a stormy winter’s afternoon…” You’ll enjoy this if you like: Jojo Moyes, Jill Mansell, Erica James. Ideal accompaniments: Hot chocolate with marshmallows and a plate of shortbread.

Away For Christmas: myBook.to/Away4Xmas

Six Reasons Not To Write A Book

What’s killing the indie author? Writers are sensitive souls often plagued by despondency, worn down by mindless promotion, and the inability to find a reason to not write. So I wrote this…

woman-trowing-booksDo we really need any more books? The enormous volume of material available to download to Kindle alone renders the vast majority of new books coming onto the market, as more or less invisible. The number of books being published has exploded. According to the Bowker Report in September 2016 more than 700,000 books were self-published in the US alone, which is an increase of 375% since 2010. This doesn’t account for commercial publishing, or those 13 million previously published books recently made available to Kindle. Surely, the market cannot absorb this amount of reading matter? The market is completely saturated. https://www.bkconnection.com/the-10-awful-truths-about-book-publishing

The cost of visibility is increasing Readers and new authors might be shocked by the cost of advertising – BookBub is the current most effective site which offers amazing results to authors and publishers – but it comes at a price. It’s not unusual to pay in the region of £1,000 to advertise a single title. Lots of smaller sites have sprung up and they charge considerably less, but of course they don’t command anywhere near the same number of subscribers. Submit to a handful of these sites at £30 to £50 and you can soon be out of pocket. This leaves many authors at the mercy of social media, and at the risk of annoying their followers with mindless promotion. Even the commercial Facebook ‘Page’ has changed to one of pay-as-you-go. Visibility of posts has been severely restricted unless you hit that promo button and start entering your card details.

when-you-pay-peanuts-you-get-monkeysFree books Publishers have always used the loss-leader approach with free copies, usually in exchange for a review, but not always. Where does this leave the individual publisher? I don’t know any indie author who willingly gifts paperbacks on a regular basis – they cost in the region of £5-£8 to print, depending on where you get them printed, and the exchange rate. This is without factoring in the shipping costs, and not forgetting those small background invisibles such as editing, proofreading, formatting, and cover design. And this is without factoring in the time you’ve taken to actually write the book. The profit from selling a paperback can be as little as £1. Unfortunately, readers are used to browsing a huge selection of free material for Kindle and although print costs can be waived in respect of electronic formats; writing, editing, formatting, cover design, and advertising, is exactly the same as for a print book.

j5rftldnPoor Production Homemade covers and un-edited books give all indies a bad name. They do, but a word of caution. Authors should strive for excellence, not perfection. There is no such thing as a perfectly produced book. This is partly because a lot of the time perfection is subjective to any one individual. Even traditional publishers get things wrong and mistakes slip through. Some bloggers are quick to judge a book purely by the amount of typos, incorrect punctuation or too much padding and waffle. It’s easy to say there’s no excuse for this – and a lot of the time, there isn’t – but I do take a slightly kinder approach, albeit only slightly and I do feel some of the internet Grammar Police out there need taking to task on this and on the errors of their own scribblings. Tut-tut I spotted a run-on sentence once on a blog post written by a particularly over-zealous reviewer. This person ripped a perfectly good book to shreds with their painfully acidic views on punctuation and vocabulary. Let’s get this into some perspective.The overwhelming reason to read a book is to enjoy the story. If the story holds up, i.e. no serious, consistent issues, and I’m entertained, then I can overlook the occasional blooper, that something which takes me out of the story. Story is everything. A missing comma is just that…  However, there’s another side to this woolly coin. The vast quantity of poor, unedited material out there gives the conscientious author a bad name the minute he declares himself self-published. Editing at any level attracts a cost, likewise with proofreading; but it’s a vital part of publishing a book for public consumption, and the competition to sell and be seen is at an all-time high, so, why wouldn’t you?

2d0f3fdf0189d37ce0feaf8ebcab9330Reviews Another reason to develop a second skin or buy a mouth guard to prevent nightly grinding of the molars. The current product review system employed by Amazon is clearly open to error: One star: totally loved it! Three stars: not read it yet, won’t download. And abuse, on various levels: Doesn’t make any sense, completely unreadable, don’t bother. Reviews which have the power to connect with other readers do help visibility and authors can use them to some effect through social media, but not all readers review books, even if they enjoyed their free or 99p book and would have no hesitation in recommending it to others. The frustration of garnering reader-reviews is real, but then authors can be their own worst enemy. I’ve seen some writers attack readers on social media for posting a low-starred review and going on to label said reader as a troll. (Could it be that they just didn’t like the book? Consider that other potential readers will perhaps read this and back-off reviewing for fear of reprisal or getting it ‘wrong’) And if the review does have a whiff of vindictiveness about it, then surely the most sensible thing to do is to stop drawing attention to it, since this is usually the intent. And then there’s always the option to pay through sites such as Net Galley – the big book giveaway for bloggers and book reviewers in exchange for reviews, although the publisher/author has to pay a handsome sum to be listed. I do think some sites and reviewers have become a bit too powerful, but some authors are desperate enough to pay for a handful of (glowing) reviews – from any source. Amazon have a problem controlling the unethical ones, and their sister site, Goodreads, actively encourages ‘readers’ to simply rate books with no purchase required, or even a simple acknowledgement that they’ve read the book in order to validate the rating. Why not get rid of all the star ratings? If a reader has an opinion about a book, have them write a review using prompts such as characters/plot/setting/ etc. Or, is it time to do away with book reviews completely? After all, we don’t rely on this system in a real bookshop. The sample and the book description should be enough to have us decide if we want to spend our precious 99p (That’s 35p to the author).

Success. Written a best-seller? Great! Now your agent/publisher/annoying little man in your head strongly advises you to write at least two more before the end of the year, otherwise no one will remember who you are and all those knock-on sales will be lost…

C is for Camera, Coffee, and Colon

Christmas already seems a long time ago but it’s a fairly big contender for a C word so only fair to mention it early on; especially since I’m currently writing a Christmas themed novella. Don’t be fooled into thinking this is something cosy (come on, you know me better than that) It’s about an accountant who writes a novel in company time and how his subsequent literary journey with a small publisher impacts on his life. Obviously, it’s mostly satire.

This year, I was given a Cannon camera for Christmas. I also received another type of camera entirely – thankfully much smaller – in the form of a colonoscopy. I’m rarely ill but when I am I tend to do it in grand style. On this occasion, it was deemed by my doctor that since I was creeping up to one of those birthdays with a zero on the end, I should take advantage of the screening on offer and get checked out.

‘You’ll forgive me,’ she said. ‘Eventually.’

Fred-Gwynne-as-Herman-Munster-laugh3This wasn’t what I wanted to hear the week before Christmas. I’m well versed in the use of the colon: although I don’t always get it right. Semi; or full? Thank goodness for my wonderful editor. An empty colon is something else entirely. The preparation for such an investigation is pretty miserable. No solid food for 36 hours and awash with two litres of unspeakably vile liquid flavoured with artificial lemon, is arguably the NHS version of the Beverly Hills detox. And the Colonoscopy Clinic must be one of the most miserable waiting rooms – down to the fact that everyone in there is famished and not only dreading the procedure, but not especially looking forward to the distribution of those fetching paper shorts. Maybe it’s because I’m generally an upbeat sort, but I always find my writer’s observational slant is a good antidote for such times. Take my consultant; impossibly tall with unruly hair, booming voice, broken English. He laughed a lot too as he led my feeble body onto an operating table. I can’t recall his name but I still think of him as Herman Munster. The student nurse couldn’t find any veins in my arm in order to insert a cannula (something I’d happily gone along with as it promised mild sedation). Herman’s expertise with the needle in this respect was at least reassuring. And then we were off. I could even watch the whole thing on an overhead monitor.

Er, no thanks.

CDm5rGCXIAEAP0OThey never did find anything wrong with me, despite several biopsies. I worried I’d be sent for again; for another, more intensive examination, but several weeks later I received a letter to say I was discharged. Possible gluten sensitivity, it said in the notes. I reckon one is either intolerant, or not. I know stress is blamed for pretty much everything without a specific medical name, but I’m more inclined towards this than any other explanation. Do upbeat personalities become more prone to physical distress; are we guilty of putting on a brave face once too often? I think there may be some truth in this. I’ve taken the suggested course of action in reducing all stress on my digestive system. This comes down to reducing gluten heavy foods, cutting out caffeine and further reducing my moderate consumption of Chardonnay.

So far, so good

But what of less visible stress? My brother and I have recently had to make the awful decision to place Mum into a dementia care home. It’s clean, safe, caring. But her quality of life is pretty dismal. Are we compromising quality for longevity? Without a doubt. Hidden, disguised stress is evident for all the family, especially Mum, who is trapped in an alien world in every sense of the word. Of course, any fiction writer knows that worlds are not required to be physical to exert considerable power. Authors often exist in an online bubble too. And this generally contrived world can be creepily competitive: Look at my amazing sales rank! Look at my gut-busting daily word count! Writing and publishing at speed is counter-productive to what was once, for me, an enjoyable experience. Or maybe I’ve simply exhausted my current genre and my writing brain needs a colonic! This comes down to reducing unnecessary reading matter, cutting out all trash and further reducing my moderate consumption of social media.

So far, so good…

550x358_emmerdale_soapsshowdown_week20_pic19As a result, I’ve spent considerably more time playing with my new camera than I have tapping at the keyboard. Why does this make me feel vaguely guilty? How crazy that the pressure of social media to present a constant stream of material can coerce and control the mind. It’s often an insular place to be on a permanent basis because much of the time, content is not only manipulated but it’s severely watered down. Real stories and information are difficult to find. When the soaps first started on the telly they were broadcast a couple of nights a week for half-an-hour, with ad breaks in-between. From the script-writers point of view this amounted to a manageable window of creativity. Now, of course, they’ve had to up their game, resulting a lot of the time in plot holes, repetitive devices to move the story on (eavesdropping is a big one), implausible character motivation and the worst of all – gratuitous violence. As a precursor to these pleasures we are warned before each episode that viewers may find some scenes upsetting. 

imagesI’m not being especially pedantic. A lot of the time I like Coronation Street. I think it’s the northern humour, and I fully understand the concept of wanting to sit and watch something which takes little or no effort. But I still want good content. Light entertainment, in much the same way as books labelled as light fiction, still need to offer a story. I don’t want more books and blog posts to read, I want less! In the case of blog-posts, lots of these amount to barely disguised advertising, and we’re already gagging from an abundance of that. The compromise for quantity is always going to be quality, although I shall strive to discover the pearls amongst the vast quantity of mediocre material out there… So, did you get anything good for Christmas? I got a colonoscopy! And a reminder that producing and absorbing good content paves the way to greater contentment. Now pass me a small and very expensive glass of vino; I want to toast those quieter books.

Celtic Connections Library Event

By Cathy Ryan.
Conwy library recently hosted two local authors, Jan Ruth and Gillian Hamer.
After an introduction by Tracey Mylechraine-Payne, head librarian at Conwy, Jan and Gillian talked about their books, the inspirations and passions which motivate and compel them to write.

 

Jan and Gillian’s books are set in North Wales and Anglesey but differ in subject matter. Jan’s books are contemporary and very much character driven with family and relationship issues, the landscape featuring vividly, while Gillian’s writing incorporates history, the paranormal and murder mysteries, again with beautiful backdrops.
Jan read passages from her books Silver Rain, a compelling family drama, and Dark Water, the second book in the Wild Water trilogy which features an element of crime and veers into the darker side of human nature.
Gillian also read from her books Crimson Shore, the first story in The Gold Detectives series, and The Charter, a story based on the Royal Charter which was wrecked off the north-east coast of Anglesey in 1859.
Gillian and Jan then discussed their publishing journeys and how the notion that self published books are inferior is still prevalent, unfairly so. After much frustration and disappointment, they both made the decision, with no regrets, to stick with self publishing. 
After which there was an informal chat, questions were asked, books discussed and bought and several glasses of wine consumed. All in all a very pleasant and informative afternoon. Thanks to Cheryl Hesketh, head buyer; pictured with Jan and Gillian.

The Myths of Publishing

Self-Publishing is a Last Resort.

No. To self-publish or operate as an Individual Publisher or an Indie, is often the best creative choice. Without the shackles of commercial pressure, genre-blending or your own personal genre, is the new kid on the block! The author retains global selling rights across all platforms and retains the majority share of any royalties. Most importantly, the author is in complete control of the entire process, from designing the cover to organising events, to advertising and pacing the release of new material. The more you invest of yourself the greater the opportunity for growth, development, and experience, not only as a writer through valuable on-line networking but in all aspects of the publishing world.
Depending on your technical skills, it’s quite possible to design your own covers and 13735790_873470892758672_4699674544226635043_opromotional material using a range of high quality software, some of which is accessible for free. Learning to format for ebooks and paperbacks cost nothing more than your time. If you make a mistake, fix it, learn from it, and move on. There are many publishing platforms out there now – to produce both ebooks and paperbacks – all of which are user-friendly and free. Print-on-demand allows an individual to invest in small quantities of paperbacks which are easily manageable from a financial point of view, and allow the author to either produce copies simply for their own use or order in sizeable quantities for shops and events.
12339449_755681737870922_2320413221731760214_o However, not every author has the skill nor the inclination to want to deal with every aspect of publishing. Some authors find it enjoyable, some find it stressful. And it’s fair to point out that if you don’t have the necessary technical skills then of course, not every aspect of self-publishing is free. The material needs to be professionally edited, proofread, formatted and designed to a recognisable industry standard if you wish to compete with the traditional market and produce something to be proud of. There are many excellent, experienced freelance professionals working in the self-publishing sector to enable you to achieve this. The quality (both in terms of the writing and the book itself) of self-produced work can vary from mediocre, to a standard which is actually way above that of some small press publishers because quite often the editing and designing of your book is a bespoke, individual process. After this, it’s perfectly possible to approach libraries and independent book shops. 
Beware of: Experts. There are plenty of swish looking websites and unscrupulous folk willing to take your money for advice and services offered, from editing to advertising, from special award badges for your book, endorsements, amazing reviews, to everything in-between. Don’t pay for anything – unless the service offered comes from a reputable source and you are happy with their examples. Ask around on the many forums available and choose carefully. 

Self-Publishing is the same as Vanity Publishing.

No. Vanity Publishers have no selection criteria. Vanity publishing is a complete service to authors who have no wish to become involved with the nuts and bolts of producing a book as an independent, or perhaps they don’t possess the knowledge or inclination to send out endless applications to agents and traditional publishers. Maybe they’ve simply become worn down by rejection letters, and we all know how that can feel. Some flattery from an editor is all it needs to get you to sign on the dotted line…
dollarphotoclub_92155465-676x451You will more often than not relinquish all rights to the material. The author is expected to cover all costs out of their own pocket, usually upfront, and the publisher will collect the majority of the royalties on the book. It’s an expensive, often disappointing route – because quite simply the publisher has been paid for his trouble and has no further interest in the material as they’ve already made their profit – from the author! Vanity Publishers have no relationship with bookshops or suppliers.
Beware of: Huge costs (running into several thousands of pounds) and vague promises. Quite often these types of publisher come across as the real thing through cunning advertising (sometimes they refer to themselves as self-publishers). 

A Good Book will be Published by a ‘Real’ Publisher.

Not necessarily. There is still the belief that agents and publishers secure the best material out there, and you may wish to try this route first. Lots of smaller publishers can be approached directly without the need for an agent to represent the author. This is where signing a contract can be confusing and in some cases, detrimental. However, a genuine publisher will never ask for a financial contribution towards producing your book. If they do, you could be dealing with a vanity press.
Traditional publishers are mostly interested in commercial fiction which fits neatly into a genre they are familiar with. This makes the job easier for them and less of a financial risk. 
hoes_six-cylinder_pressYou will of course relinquish all rights to the material and the majority of the royalty payments will go first and foremost to your publisher. This is not necessarily a bad deal if the publisher is knowledgeable about the current market, is selling lots of books and is proactive in maintaining those sales. In a lot of cases though, this simply doesn’t happen. Publishers rarely promote consistently and effectively. The risk of taking on books that don’t sell isn’t much of a deal breaker to them because ebooks are remarkably easy to produce and who knows, your book just might take off without too much effort or investment from them. They can also control expenses by only publishing print versions on demand; exactly as per the self-publishing route, and many of them use the exact same platforms. The alternative to this is that you’ve negotiated a traditional ‘print-run’, in which case the publisher may be keener to recover those costs and work harder on your behalf to shift the copies. The finished product may well look exactly the same as a self-published book but will retail at a much higher cost because of course, the publisher needs to factor in his cut. In some cases, the print book may even be of inferior quality. You will probably be expected to pay for copies of your own book or to buy any stock at trade price, around 40% of the retail cover price.
Beware of: High expectations, grey hybrids and contracts which tie you in to several works, or years of commitment at a low rate of royalty. You won’t necessarily see your book in a major retailer on the high street for example, or in libraries. You may be expected to produce a novel every 3-6 months if the publisher is mostly concerned with commercial ebook sales in a current popular genre. They’ll want to catch the market trends and a steady stream of material will (hopefully) make money.
vader-litreactorSome small presses are blending traditional methods with services approaching those required by the self-publisher. It’s perhaps a way of capturing everything which is going on in a fast moving, constantly changing market. The material may be better treated from an editorial point of view and usually the author will retain all selling rights, but at the end of the day it’s the author who is footing the bill and choices can be limited. Additional services such as offering an author a Facebook page is an example of how new and confused authors could be attracted to a ‘gold package’ when everything seems scary and complicated. Making a Facebook page for example, is simple and free, and yet in some cases, this is listed as a service. This hybrid type of publishing is often the sister arm of a reputable publishing company, encouraging authors to submit under the impression that the experience of the genuine publishing house will spill over into the self-financed version. Maybe it will, maybe it won’t… grey area?

Do I Need An Agent?

literary-agent-commission-contractNot necessarily. You only need an agent if you intend to approach publishing companies who don’t accept unsolicited manuscripts and/or you wish someone to act on your behalf to wade through the legal jargon of a complicated contract. Bear in mind that around only 1% of manuscripts are selected in this way. An agent may be able to secure a good contract for you, but remember they take around 15% of whatever they negotiate. This could be well worth it if the agent has great connections and you have a great manuscript which everyone wants…

How Much Money Do You Make?

If you are looking to make money from your writing, then you may be shocked to discover that the profit on a paperback can be as low as £1. This is without factoring in the time spent writing the novel, paying for an editor, a cover designer and a formatter. This is based simply on the printing costs of a physical book. Nothing beats seeing your work in print, regardless of how you arrived at that point, but unless you’ve written a commercial best-seller and it’s handled by one of the ‘big six’ in publishing, then it’s unlikely you’ll make any cash from selling paperbacks.
how-to-use-the-internet-to-make-moneyThis is why the ebook market is so lucrative and why lots of small presses have popped-up offering contracts for material. Some of them are pretty good, but an awful lot of them are best avoided. If you self-publish an ebook and it starts to sell, then you can make a reasonable return, especially if you have the technical know-how to produce the book file to a good standard and you’ve studied the market for trends. While some authors fail to break even, some make a reasonable living from writing, usually supplementing their income with author services or non-fiction publications. There is a multitude of levels in-between, depending on how much time and effort you are willing to invest, but there are no guarantees.