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 promotional 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.
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…
You 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.
You 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.
Some 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?
Not 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.
This 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.
When I first began self-publishing some five years ago, I uploaded three titles onto Kindle sporting the obligatory homemade covers. Actually, looking back – they weren’t too bad! But over time, it occurred to me that Kindle was not only a mostly American market but I was going to have to try much harder for visibility as the number of available titles seemed to increase on a daily basis. I set about finding a good designer to produce a bold, professional-looking brand. And as most authors are aware, unless you have a famous pen name, then your covers are going to have to do the majority of the marketing for you. I knew this, even then, but I wasn’t looking objectively at my potential reader base. I was too close to the material, and too inexperienced with market trends.
At this stage, I still had just three titles and no plans of writing sequels to any of them, but despite the simplicity of this, I struggled to reflect my material. Romance is one of the biggest selling genres in fiction – according to Amazon. And yet if you admit to writing about relationships, it attracts an element of disdain. As with most styles, the extremes are always easy to identify. If it’s a Fifty Shades book, then it will be a ripped torso and some handcuffs. Chick lit? Easy… shoes, handbags, cakes and cartoons. Happy smiling couples? That’s Christian Romance, or Mills and Boon. But what about the rest of it? There are literally thousands of romance titles out there which these successful, albeit cliched images, don’t reflect.
What I did get right, in principle, was the human element as I think the reader needs to identify with the protagonist in character-driven fiction as opposed to plot-driven fiction such as crime. The problems began when I started to write more books, some of them sequels, some of them with a slightly different feel. The essential genre of the books became fuzzy, as did the concept of the original designs, and it became increasingly difficult to work with as a form of branding.
Then along came the traditional publishing deal and I fell into the trap of thinking that they’d have more experience in this department then me. I’d had communications with agents and publishers in the dark and distant past as followers of this blog know all too well, and one of the major stumbling blocks had always been the in-between genre problem – which probably represents a huge majority of independent authors. I think it still has the traditional publishing industry throwing up their hands in despair. “We’ll never sell this, it’s time-slip-historical-paranormal. What would we put on the cover?” I used to scoff that they lacked imagination. They probably do… but that’s not the whole picture, they lack time, money and inclination more.
Of all the marketing I’d tried, the move to a small publisher had to be the worst decision ever, for me. And I’m partly to blame when I stated initially that maybe I didn’t want characters on the cover anymore. The result was something so bland and plain that any indication of content and what to expect – was non-existent. I was rather hoping they’d know exactly what they were doing but I guess if it isn’t chick lit or erotica, we’re back to the same puzzle. What do they put on the cover of these books? There are romantic elements but the characters are way, way too old for chick lit and there’s not always a neat, happy ending. These novels are peppered with manslaughter, arson, domestic abuse, judicial use of a swear word or two, and here’s the quirky bit which throws everyone: a lot of British humour. They’re not ‘easy’ reads but they’re not especially literary or demanding either. I’ve always sought to entertain and engage rather than try and dazzle readers with the use of long words.
Because I feared the chick lit syndrome, I opted for Family Saga and Women’s Fiction as a means of general description. Neither of these woolly titles did me any favours. The worst element – according to my Welsh publisher was that they’re set in Wales! Books set in Wales don’t sell, they said… you need to set them in Cornwall, or have the men in kilts. I did spit feathers over this, but wait… this isn’t as nonsensical as you might think. The reason their mainstream genre books sell well is that they are clearly signposted by their cover design, and most importantly, the reader understands exactly what they’re getting. They don’t have to wade through the entire sample or spend precious time trying to decide if it’s for them. Simple, standard genre motivated cover art means a lot less work for the publisher too…
Leaving the traditional publishers behind due to a chronic lack of sales also meant I had to forfeit my US rights on three titles, but this went to reinforce what I should have done from the outset with regard to my images. I needed to make a definite shift into a specific genre. Maybe I had to grit my teeth and start calling them Contemporary Romance and embrace the fact that they’re so British. Whilst ruminating the errors of my ways I spotted a book on Amazon with a new cover –a book I knew well – a book which I’d read and loved some years ago, and I knew it was pretty close to my own material in terms of genre, age, location, and content. My decision to re-brand was formed there and then. I set about sharing my ideas with J.D. Smith Design and the process began in earnest.
We concentrated on two vital elements. My Welsh landscapes are a fundamental part of the stories and almost a character in their own right, so this needed to be a clear statement on the cover: stone walls, wild ponies, mountains, heather, tumbledown farms… all of these elements underpin the books, and the romance genre after all, is about escapism. This background creates a romantic aspect in the blink of an eye – and sometimes, this is the exact amount of time we get to impress a reader. In the next second, the reader needs to identify with the story and the protagonist; so the characters needed to be modern against those sometimes historical looking backgrounds – and finally, they needed to appeal to readers generally above the age of 35.
Working with J.D. Smith Design again I was able to give my work the bespoke service it deserved. Everything was carefully considered and time taken to make sure all the elements were correct, true to the material, inviting and engaging. The clever use of different fonts meant that my series sat together as they should. An interesting upward trend has developed with my equine series Midnight Sky, and Palomino Sky. Clear branding on these two books (horses, realistic characters and yes let’s be honest, a rugged outdoor guy is eye-catching. He doesn’t have to be cheesy or bare-chested!) have significantly increased sales in the US and Australia, where before they didn’t get a look in. This is interesting because back in the old days I had an agent who told me to ‘back-off with the horse stuff, it puts people off.’
If this exercise has taught me anything it’s to be true to the material. Not only have I given my books the very best in cover design with clear definitions, the overall re-branding has increased sales by at least 60%.
The importance of book cover design and careful branding cannot be underestimated!
Where 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.
Of 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.
I 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.
Imagine 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…