- I’m one of a set of identical twins – yes, she’s a girl (that’s fraternal twins), we live far away from each other and don’t look that much alike anymore.
- I can’t tell my right hand from my left. No, none of the tricks work, it’s how my brain is wired – a form of dyslexia. If I try to tie a bow behind my back I have no idea what my hands are doing. I get lost a lot. Sometimes that’s been fun. *grin*
- I have Attention Deficit Disorder, spend five minutes around me, and you’ll know that. *grin*
- I read very fast, about 365 wpm when I was clocked at 13.
- My IQ is pretty high, too, but I couldn’t get into Mensa until after they ditched the shape tests. Then I didn’t want to.
- I’ve been married four times.
- I suffer from Post Traumatic Stress disorder from the first one. It’s gotten better than it was.
- I’m a sucker for birds with broken wings… we have two dogs we rescued (one who goes psycho with deliverymen), a one-eyed cat named Pi, and a stray I picked up name Tango – who had a broken jaw and cut whiskers, along with frostbite. He’s much better now.
- Writing ‘labels’. What box? I don’t need no stinkin’ box. Don’t try to put me in one. I’m a multi-genre writer, I like following my muse wherever he leads, although I consider myself primarily a fantasy author’
- I have tattoos on both forearms -the Four Pillars of Elven Philosophy from The Coming Storm series – Knowledge balanced by Wisdom, Justice by Compassion, overseen by the clear crystal light of Reason, but above all else, Honor.
“Publishers are just middlemen. That’s all. If artists could remember that more often, they’d save themselves a lot of aggravation. ” – Hugh Macleod, How To Be Creative
Ah, the lure of the publisher, the allure of the printed book sitting there in your hands, beckoning to you. Isn’t that the stuff of every author’s dreams? An e-book is great but don’t we all long to hold a book in our hands with our name below the title? I know I did. There’s also the sense of security and the idea that maybe we won’t have to work quite as hard, that they’ll pick up some of the load of marketing.
It also seems as if there are so many new choices these days – not just the Big Six, independent, e-presses and small presses, but all kinds of hybrids, include publishing groups and co-ops (where the responsibility for creating a book is shared). And not all of them are truly looking out for your best interests. A number of writers have found themselves contracted to a publisher with no easy way out. I did.
So how do you avoid the pitfalls?
(For our purposes, we’ll leave out the Big Six, the pros and cons there are known – advances (now much smaller), a huge pool of talent in which your book can get lost, gatekeepers with a narrow eye, six months to respond, a year to two years to reach print.)
First, do your homework. Google the company name. If you find that they’re listed on Preditors and Editors or Writers Write, run away. Are there complaints against/about them? Do they sound valid, consistent? Go to their website, find a book that looks and sounds interesting to you. Does the cover look professional? Are there spelling and grammar errors in the blurb (the back cover information)? Where can you buy it? Only from their website? Those are huge red flags. You want your book to look as good as possible and to be available to a wide audience through established booksellers like Amazon.com, B&N and iTunes. If there’s a feature like Amazon’s “Look Inside the Book”, use it. Are there a bunch of basic grammar errors? Is that the kind of book with which you want to be associated?
So, it all sounds good and looks good. Too good to be true? Then it probably is. How’s your gut? Getting some trippy vibes? It’s time to start asking questions…
1. There’s a standard rule in publishing that money flows from the publisher to the writer, NOT the other way around. Anyone who tells you different is blowing smoke. I don’t care what name they call it. If you’re paying them a percentage of your book that percentage is supposed to cover what they’re supposed to do for you – editing, cover art and marketing at the very least. By its very definition in a co-operative environment each writer donates their time and skills to the group as a whole, each contributing to the success of all. But the first rule still applies. If you’re paying any percentage to the publisher, those ‘fees’ should come out of their pocket, not yours. Otherwise, what are you paying them for? Their name? Make up your own.
2. NEVER, NEVER, NEVER pay for your galley or proof copies. No reputable publisher will ask you to do this. That’s the cost of doing business. You’re providing them with their commodity, books. Without you, they wouldn’t exist. To ask you to pay for your own proof copies, even at a discount, is wrong. If they don’t believe enough in your book to invest in it, they shouldn’t have bought it. No reputable publisher will insist that you buy your books in bulk, either, even for a book signing. On those occasions they should provide them – unsold books should then be returned to the publisher or used for subsequent book signings.
3. NEVER, NEVER, NEVER pay for services you can do yourself. See below.
4. Editing. Read the excerpts. Is that your style? Is it overly simplistic, too Dick and Jane? Or too dark? (I submitted one book to a publisher like that but I had a pretty good idea it would be rejected. And it was.) Are the stories remarkably similar, too generic? Is the quality good? Are you seeing those grammar errors? In a recent post I commented on a reader who was surprised to find an erotica book so literate. (I don’t just write erotica, I’m actually more of a fantasy writer, but that is where I’m published traditionally.) Is most of their work adult, but you write YA? Make sure that publisher is a good fit for you.
5. Are they making a huge fuss about numbers, rankings and so on? Is the fuss legitimate? If you’re #4 in Kindle Store > Kindle eBooks > Nonfiction > Kitchen Appliances, is that a valid ranking for your contemporary romance, Cooking Class? Not really. Outside of the kitchen appliances listing, notice that it says Nonfiction. Yes, you want to market where people share the same interests as your book but if your book is the only fiction book in ten listings… being #4 isn’t all that great.
6. If they’re offering to put your book in print, who is doing the printing? I honestly never considered asking that question. I didn’t think I had to, after all, they were a publisher, right? So therefore they had a printer. To my surprise, one company was using CreateSpace to do their printing. (See Rule 3) I already had two books in print through CreateSpace on my own but that publisher made it sound as if he had a local printing company. Never assume. You know what happens when you do.
7. Ask what their pay schedule is and what your percentage is for e-books or print. Is it different if you do book signings? WHEN do you get paid? Smashwords pays quarterly, most regular publishers pay monthly, but both will provide you with a regular accounting of how much money you can expect to receive. The same should be true of any publisher. You have a right to know when your first paycheck will arrive. After all, you have bills just like they do. If they can’t give you that information, if they waffle about how they can’t give you accurate figures, that they have to account for returns, etc., RUN. At absolute worse they could simply deduct a return from your next check but a reputable publisher wouldn’t – returns should be few and they accept that as a loss, as the cost of doing business. (If returns are excessive, someone needs to look at the book.)
8. What is their marketing plan? How do they market their authors? (Again, see Rule 3) Is it largely through Facebook, Twitter and blogs? What else do they do? You want a concrete marketing plan that will take you beyond what you can do yourself. Does it mainly consist of book signings which you have to arrange, not them? Then you’re in the wrong place.
And if you hear pie in the sky promises – I can get you on Leno, for example – ask yourself how many authors Jay Leno has on his program? None. It’s all smoke. Run, don’t walk, to the nearest exit.
9. Check out their Facebook pages. Is there chaos and drama around them? Do you want chaos and drama in your life? If not, then walk away.
Indie publishing is hard enough without people making it more difficult, or outright ripping you off. I have yet to see the money from my book and I have a pretty good guess I never will. Despite it being a legitimate Amazon best seller. It regularly floats in the Amazon Top 100. I haven’t given up entirely but that’s the price you pay for not doing your ‘due diligence’ – your research.
There are people out there more than willing to prey on our hopes and dreams and many authors will pay almost anything to realize those dreams. I know one writer who put thousands of dollars of his own money into a print version of his books. I don’t know how many are still in boxes. Print books are much more difficult to sell. Getting bookstores to take a chance on giving precious shelf space to an unknown, independent writer is difficult. So many authors do that and their garages are filled with broken dreams. Many walk away, their hopes dashed.
For a while I struggled, trying to fit myself into a round hole when I was a square peg. I put my hopes of seeing my books in print under a publisher’s name…until I learned all the lessons above. Now I’m experiencing the delicious freedom of being able to write my books the way I want to write them. If I’m going to do print, I’ll do them myself. And I won’t have to share a penny. No one will make money from them besides me…in tandem with Amazon and CreateSpace, or B&N, Smashwords, etc., of course.
That’s not to say that the traditional way is wrong, but unless what a publisher offers you makes your life easier, what do you need a middleman for?
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This blog was originally posted at http://www.indiesunlimited.com on February 1st, 2012.Read More »
Why a rewrite, you might ask? Many would argue that a professional writer – and I consider myself a professional – would never do such a thing, that you should never release a book that isn’t finished.
Well, I didn’t – insofar as the perfectionist in me would allow. I was happy with A Convocation of Kings, it was a good book . It accomplished the things I wanted to accomplish, said the things I wanted to say – that love can conquer all and the hatreds war engenders are never over when the fighting is over, among others.
I remember reading a quote from a famous artist that said that even when the painting is on the wall of a museum he could spot little things he might have done differently.
Another quote says that a work of art is never truly finished, it’s just abandoned – a quote possibly attributed to DaVinci.
I understand both quotations. (and yes, writing is an art.)
But a point has to be reached where you simply have to say – It’s done.
Go to any one of thousands of writer’s groups and you’ll find dozens of people who have been working on the same manuscript for years, endlessly polishing, questioning each word or phrase, critiquing each other’s work, but never submitting a single manuscript. And they probably never will.
I understand that, too, but there is a point where you can actually tweak a story to death, render every sentence sterile and remove any semblance of soul.
You want it to be the best it can be, but sooner or later, you have to let it go.
So I made A Convocation of Kings as good as I could make it, and then let it go.
So again, why the rewrite?
Because, as any artist or writer can tell you, sometimes your mind is wandering and then suddenly this idea pops up out of nowhere. I was working on this completely different project when I had this brainstorm about A Convocation of Kings. Was it anything specific? I don’t really remember. I was just driven to take another look at it. (Ask my husband, I disappeared into my writing room for the better part of three weeks.) I just knew it could be better and how to get it there. So I sat down, started on page one and did an extensive edit, tightening some scenes, making others clearer, expanding on others, deleting one or two that didn’t move the story forward while adding others. New characters popped up and a small character got bigger, to reflect the part of the story that revolved around the main characters.
I’m hardly the first one to have done it. Stephen King released a Complete and Uncut version of The Stand because he wanted to put back in some scenes that had been edited out.
In the past, that wasn’t possible. That may be one of the blessings of being an indie writer, especially of e-books. It’s a new world, a new way of doing things, and we may now have the freedom to make changes on the fly – whether just minor grammar changes or something as extensive as with A Convocation of Kings.
All I know for certain is that when I finished, I felt a great sense of satisfaction. A Convocation of Kings was a good book. I really believe that now it’s a better book.