Whatever we'd originally planned to post today, it seemed like we should take a breather and just admit our current reality: COVID-19 has created unprecedented consequences and challenges.
It's rough out there.
As of this writing, the World Health Organization's latest situation report includes 179,112 confirmed cases and 7,426 deaths. The outbreak map looks like this:
Not to mention that Tom Hanks and Idris Elba have both tested positive. The madness!
Gone from our daily lives are many activities we counted on to provide for, support, and entertain us.
Some of y'all have been seriously impacted with income difficulties, family concerns, and personal anxiety. Here at Writers in the Storm, we want to give you a big, online hug. Socially distanced, of course.
When in crisis...
As Lisa Cron laid out beautifully in her book, our brains are wired for story. We craft stories to make sense of the world around us, learn from our experiences, and form plans for the future.
Stories are powerful.
Go on any social media platform right now, and you'll find people sharing their stories about how things are going. Or making up stories of how's it going, to evoke empathy or laughter. #QuarantineLife was trending on Twitter, as folks shared their newfound realities. And did so with real creativity!
No, I have no idea who those people are, but those are stories about how it's going. And others are intrigued by them.
Then there are those who turn to story to explain what's happening right now. Whether it's studying historical events like the Spanish Flu pandemic of 1918 or the SARS outbreak of 2003, or finally reading or watching such fictional pandemic stories as Stephen King's The Stand novel or Steven Soderbergh's Contagion film, people look for comparisons. Some comparisons work, some don't, but we use them to help us tell today's story.
It's something to do.
Of course, plenty of people whose lives have been disrupted find comfort in stories as simply something to do.
More people are binging shows on Netflix, Amazon Prime, and other streaming networks. Readers are pulling books off their to-be-read piles and finally diving in or downloading new reads on their phones and tablets.
Someone out there who's been wanting to write a novel since forever is finally putting pen to paper, or fingers to keyboard, and turning out a word count they couldn't manage before. If that's you reading this post right now, good for you! After all, in case you hadn't heard, William Shakespeare wrote King Lear while in quarantine.
Though I'm with author Lauren Hough on this one:
It's also a challenge.
But as many people as there are now digging deep into stories, a number of writers just lost their ability to get any work done.
Yes, I see all of you parents who suddenly have preschool or school-aged children under foot. Not to mention those working overtime in healthcare or caring for someone who's sick. And those who got caught away from home when the travel bans hit.
Forget word count. You just want some semblance of normalcy!
Your work of fiction has been replaced by your personal story of upheaval. Believe me when I say the WITS team is pulling for you to have a happy ending.
Whatever your situation, we invite you to tell your story here. That's what we as humans do in everyday life, but especially in crisis: we craft and share stories.
Let us know what's going on since COVID-19 altered your life or tell us an exaggerated or fictional tale that connects or cheers us up in the face of difficulty. What's your story?
Julie Glover has oddly experienced little disruption lately—being a committed introvert, empty-nester, and self-employed writer. As a Gen Xer, she was mentally prepared for apocalyptic events by movies like War Games, Red Dawn, and Mad Max: Beyond Thunderdome. Though she really thought it would be the rise of the machines, not a virus, that eventually closed restaurants and bars. Anyway...
If you need something awesome to read right now, check out her YA contemporary novel, SHARING HUNTER, which finaled in the 2015 RWA® Golden Heart® and is now on sale!
In Indie Publishing 101—Part I, we discussed the shifting paradigm of the publishing world, what it takes to be an independent publisher, and how we produce quality, publish-ready manuscripts. Today, we will look at what is involved in the actual production of a quality indie book.
1. Layout
Pretty books don’t just happen. The visual layout of the book must be designed, paying special attention to font, spacing, and the overall visual aesthetic. We put countless hours into the quality of our content. It is just as important that it be easy to read.
Hire someone
Again, ask your author network for references. There are big companies that do this, as well as individuals, and the cost is $200 and upward.
However, I do not recommend hiring out formatting, and this is why . . .
Vellum
For roughly the same amount that it costs to hire someone to layout one book, if you have a Mac, you can get a Vellum program and layout an unlimited number of books on your own. To be clear, I am a techno-moron, and even I was able to use Vellum without too much stress. It is user-friendly, and once you get the hang of it, you can format your own books in a few minutes to a few hours.
ProTip: Always save all changes in Vellum to an RTF file. Vellum gives you that option in the dropdown under “File.” If you don’t do this, and your computer dies, causing you to transfer all of your files to a new computer, some of your files might not transfer over unless you have the RTF backup. At that point, you have to re-create the file from scratch. #voiceofexperience
Programs for PCs
Online publishing companies, such as Draft2Digital, offer layout services. There are also many other companies out there with layout services for both e-books and print. I recommend a Google search and talking with other writers with PCs about what works for them.
Editing
When we do our own formatting, we can make our own changes at will. That means when we update our books or our bios and "Also by," we can go into our published works and make the changes rather quickly without needing to rely on a third party.
2. Cover Art
It may be that we shouldn't judge a book by its cover, but we can't help it. We just do. A great cover can make all the difference for sales, and the last thing an indie publisher wants a book cover to look like is "indie" in a bad way. There are several options for achieving the professional covers our books deserve.
Hire a Cover Artist
Hiring an artist for cover work can cost upward of $200 and usually does. To find the right artist for you, ask your author network, study bestselling indie books in your genre and find out who did the cover art, or look online. If you love their work, your readers probably will too.
Publishing companies such as Kindle Direct Publishing and Draft2Digital also offer cover services. However, I have never used them to say how they are. I recommend checking reviews and asking other authors who have tried them.
Buy a Pre-Made Cover
I know. You’re wondering how someone could have already made a cover for your book. I wondered the same thing, but some of these are outstanding. Just search on “pre-made book covers,” and peruse literally thousands of covers that cost $50 and up. Make sure they are only sold once, so that the cover is actually yours if you purchase it. It may not be exactly what you have in mind, but, then again, it might.
Design Our Own
Purchase Adobe Photoshop or some other graphic design program, study the covers on the bestselling books in your genre, noting the common colors, common imagery, and common fonts, and make covers that embrace the current fashion. Yes, covers have their own fashion fads. It’s a learning curve to making them on our own, but there are benefits.
The cover will be exactly what we want.
We can edit and re-size the cover, as well as make business cards, bookmarks, and bling designs.
The cost is only the price of the program and any necessary photos.
We are rewarded with the instant gratification that comes from making something beautiful after only a few hours of work—the exact opposite of producing a manuscript.
ProTip: Don't make covers in a vacuum. Cover art is just like the manuscript. We need to do several passes, and then, when we think it is perfect, we need input from at least two or three people whose opinions we respect. Then we must set aside our egos and adjust accordingly.
3. ISBN (International Standard Book Number)
Books need ISBNs. These are numeric book identifiers that are unique to each form of each book.
The same book needs a different ISBN for each format. For example, our book Spycraft: Essentials has one ISBN for the digital format and a different ISBN for the print format. When we have the audiobook, it will have a third ISBN. The ISBN for each format is the same across all platforms, so, for example, the digital ISBN for Spycraft: Essentials is the same for Kindle, Nook, iTunes, and all other outlets.
Subsequent editions also require new ISBNs for each format.
One popular place to purchase ISBN numbers is Bowker Identifier Services. The (current) cost is $125 for one or $295 for ten. They have other packages, as well, with volume pricing.
ProTip: If you publish the digital format through Kindle Direct Publishing (KDP), you can forgo an ISBN for a KDP-assigned ASIN. However, that will only work for KDP. You will still need an ISBN for other outlets.
4. Copyright Registration
While copyright can be established without technical registration, it is best to register a copy of the book with the US Copyright Office. This will short-cut any lawsuits that arise surrounding the copyright.
Go to the US Copyright Office and follow the instructions to register your work. Read the fine print and do exactly what it says. It’s straightforward, takes about fifteen minutes, and does not require an attorney. Enter your information, pay $55 online, and then upload the manuscript. The Copyright Office will take a few weeks to process it, notify you of any issues that need to be resolved, and then send your certificate of registration.
Copyright registration is not required to publish a book, but it is a good idea. We can register a copyright with the US Copyright Office at any time before or after publication.
ProTip: At the end of the program at the US Copyright Office, it gives you the chance to review everything you have entered. Review this carefully. If there is a way to edit after it goes past that point to the payment process, I have not yet found it.
Now that we have a beautiful layout, stunning cover art, our ISBNs, and our copyright in order, it's time to publish and market our book baby. We will look at that process on March 23 in Indie Publishing 101–Part III.
These articles are by no means a comprehensive treatise on indie publishing. With the constant changes in the publishing world, we must all keep learning to keep up, so I would love to hear your tips and experience with indie publishing.
How do you do your layouts? What has been your experience with layout programs? Where do you get your cover art? If you do your own, what tips can you share? Do you register your copyright? If so, do you register it before or after you publish.
About Piper
Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Their latest release, SPYCRAFT: Essentials, is designed for writers. It addresses the functions and jurisdictions of the main US intelligence organizations, the spook personality and character, tradecraft techniques, surveillance, the most common foibles of spy fiction, and much more. It is available in digital format and print at Amazon, Barnes & Noble, and Kobo.
“Writing is an art, but publishing is a business.” ~ Piper Bayard of Bayard & Holmes
That may be a grim thought to us artists, but it is true, nonetheless. We write for different reasons—fun, therapy, journaling, therapy, to master a skill, to be part of an artistic community, therapy, because the stories are hammering inside our heads and must get out. On the other hand, since publishing is a business, we publish for only one reason—to make money.
If you are reading this article, you’ve probably already put seat to the chair and dared to begin that most glorious and yet most horrific of creations, a first manuscript. I say horrific because, while it is an outstanding accomplishment to get to The End, it is also only the beginning. Once we have that most precious brain child, what then?
Well, of course, the top New York agents fight over the chance to make us a star with a publisher bidding war for our manuscript, a record-breaking advance, a publicity team, an art team, and the best of editors who will no doubt congratulate us on being the first author they know who doesn’t need any edits. In fact, they will thank us for the privilege of being allowed to work with us... Well, it could happen, right?
Not on this planet.
On this planet, publishing is less an institution and more shifting sands—like a sandstorm is shifting sands. Only five major publishing houses are left standing, and one of them is up for sale as I write. Countless medium, small, and micro-publishers have sprung up to challenge the Big Five, some with more success than others.
In response to this shifting publishing paradigm, publishing houses have been paring down the number of authors they take on, often choosing those authors based on narrow parameters of style, message, and politics. All of those publishers have sales teams that choose a select few authors, as in three or four, to fully support with publicity, book tours, and marketing teams. The rest of the authors are tossed out into the deep end to sink or swim on their own, doing much of the work while giving up most of the money. In this paradigm, independent publishers and self-published authors have flourished, often doing better than their traditional counterparts.
Wait, isn’t an independent publisher a self-published author?
No. While specifics of that distinction vary depending on whom we ask, generally, the self-published author hires a company to handle their editing, proofreading, artwork, layout, etc., and that company sends the author a complete package in exchange for a hefty sum.
The independent publisher, on the other hand, separately hires their own beta readers, editors, layout artists, cover artist, etc., and has complete control over the final product. Many independent publishers, such as myself and my writing partner, do everything for ourselves except for the beta reading and editing. It allows us to maintain artistic and quality control of our work, and it means any money generated is ours to keep.
The most important word in that last sentence is quality. The primary beef with independent publishers is poor quality. To be successful as an indie, we must be dedicated to producing professional-level publications, no matter the cost to our egos.
What does quality independent publishing require?
1. Education & Practice
While there are no right or wrong stories, there are definitely more and less-effective ways to present those stories. We must learn our craft and the business of publishing to be effective.
Then we must practice. It is said that the first one million words are the internship. I recommend blogging in addition to manuscript writing to get that first million. Blogging keeps us engaged with the world, helps us build our brand and a marketing platform, and gives us something to point to when people ask where they can read our work. It also gives us the instant gratification of completing a product in less time than it takes to produce a novel.
For writing craft, I recommend any or all of James Scott Bell’s several outstanding writing craft books. Also read, read, read. It helps to think about what we love in other authors’ books and how we can incorporate those elements into our own. I also recommend studying the generous advice from the talented authors here at Writers in the Storm, the amazing authors of the Writers Helping Writers site, and Kristen Lamb’s posts and classes.
2. A Publish-Ready Manuscript
Completed work
A completed work is more than a first draft. It’s a manuscript we have allowed to ripen with at least three passes over time. Many authors, including myself and my writing partner, do five or more passes before sending a manuscript on to beta readers and editors.
Ideally, we leave it in a drawer and ignore it for a bare minimum of three weeks before we start on the next draft. Many authors prefer to let a manuscript sit for at least a year between the first draft and subsequent drafts so that they might see it with fresh eyes.
Once we have given our all and know of no more improvements we can make on our own, we are ready to share our manuscript for some honest feedback.
Beta Readers
Beta readers are not our parents, siblings, or best friends. They are people who usually don’t love us and who have the spine to give us honest feedback on our books. They should be familiar with the genre either through their own writing, their own reading, or their life experience. For example, one of Bayard & Holmes’s most invaluable beta readers for our espionage nonfiction is a former CIA Operations Officer who reads everything his hands touch.
Some beta readers will perform the service for free, and others must be hired. It is up to the author to decide which is best for the book, but both routes are equally valid if they provide the perspective and experience for valuable feedback.
A Brilliant Editor
Once we have received our beta readers’ advice and edited accordingly, we are ready for our star editor to come into the process. This is where Holmes and I put our money. There are no great books without great editors, and we earn the opportunity to work with great editors by being diligent with our education, our revisions, and the quality of our rough manuscripts. And every manuscript is rough until it has passed through the hands of a great editor.
To find a great editor, consult your author network or author social media groups for recommendations. Research the editor’s background and check out the books they have edited. Discuss exactly what services they provide, how much they charge, and when payment is due. And gird your loins.
As I said above, publishing is a business. Businesses are about making money; they are not about stroking our egos. Our editors must be able to trust us enough to speak plainly to us. We don’t pay editors to tell us our books are perfect. We pay them to tell us how our books suck and how we can fix them.
ProTip: The only correct response to an editor is, “Thank you,” whether you agree with what they said or not. Never argue. That’s the mark of an amateur. Instead, take what you need and leave the rest.
A Meticulous Proofreader
Publishing a book without proofreading it is like sending your child to school in their pajamas. After all of the work we put into our manuscripts, why would we send them out the door looking like nobody loves them? Find a good proofreader by asking your author network and social media groups, and be ready to pay for their services.
Sometimes an author wants to break punctuation rules. That’s okay if it serves the greater purpose of the work, but we know what rules we are breaking, and we should be able to articulate to ourselves exactly why we think our outlaw punctuation makes our books better.
ProTip: The best proofreaders cite the punctuation rule for every change they make to the manuscript. Most use the Chicago Manual of Style.
Once we have put in the time and effort to learn our craft, practice it, rewrite several drafts, and have our manuscript thoroughly edited and proofread, we are ready to move on to the actual book production. We will discuss that next Monday in Part II of this three-part series on Indie Publishing 101.
My knowledge on this topic, like anyone’s in this ever-shifting kaleidoscope called the publishing world, is not the be-all and end-all. We will all always need to learn. I would love to hear what works for you.
What resources have helped you most in developing your craft? Do you hire your beta readers, or are they volunteers? Who are your favorite editors and proofreaders? Is there anyone you would recommend, and in what genre?
About Piper
Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Their latest release, SPYCRAFT: Essentials, is designed for writers. It addresses the functions and jurisdictions of the main US intelligence organizations, the spook personality and character, tradecraft techniques, surveillance, the most common foibles of spy fiction, and much more. It is available in digital format and print at Amazon, Barnes & Noble, and Kobo.
