Self-publishing: a creative choice, or a last resort?

by Terry Tyler

Most writers, whilst penning their first novel, have fantasies about submitting to a major literary agent and being accepted by a traditional publishing house. This fantasy becomes reality for one in a million, if not fewer. I started writing long before Kindle; back in the days when I occasionally submitted novels to agents I gained some interest, but it amounted to 'yes, like the way you write, but can you change the content according to what is currently in vogue, so I can sell it to a publisher?'

I wrote nine novels in the 1990s, then started writing again in 2010. I submitted the first to an established agent, and received the same response. My book was from multiple-first-person points of view, which was not popular at the time. Then someone told me about self-publishing on Amazon, and I decided to go down that road, instead—which was when I discovered that some see self-publishing as a last resort on which to fall back after being turned down by agents, mainstream publishers, and even the smallest independent presses. It isn't. It is, in many cases, a creative choice, for the writer who doesn't want to follow grip lit thriller with grip lit thriller, or remove a whole character because she must conform to the romance formula as laid down by her publisher.

Yes, of course, self-published books on Amazon range from the brilliant to the efforts that inspire you to write emails asking for better quality control on the site. The desire to stand apart from the stigma of self-pub and 'be a published author' leads many to sign with the first independent who says 'yes', or, worse, with the rip-off vanity presses—in case you don't know, this is where they flatter you until you sign the contract, then hit you will a huge bill for editing, proofreading, etc. Often, they masquerade as trad pub. They will accept anything as long as you pay their exorbitant fees, and their editing and proofreading usually leaves much to be desired. I was recently asked to review a book published by a well-known vanity press. It had three errors in the blurb alone.

As far as independent publishers are concerned, they range from the very good, who will promote your book, present it professionally, seek out book bloggers and placement in bookshops, etc, to the bad, who don't recognise slack editing and will let books go out with too many errors in them (I've read independent press books with American English in an English historical, waffling narrative that should have been cut, etc), to the ugly, who just want a cut of your takings and will have your books 'edited' by someone who doesn't understand basic grammar. According to blog posts I've read, some writers who've chosen to go with an indie press find that they end up with all the restrictions of the traditionally published: losing royalties, and control of content, timing of publication, price, with none of the advantages (books in high street shops, paid Amazon advertising, sales, etc).

A few years back, a writer friend told me that he'd felt so excited when Kindle publishing was first introduced, but became disillusioned by the reality: wannabe best sellers bunging up any old rubbish on Amazon, thinking they were going to be the next EL James/GRR Martin. This has added to the bad name self-publishing has had since the days when vanity was the only option available, and not only with book bloggers and the reading public. The writers' hierarchy lives on: some who sign with small presses consider themselves superior to the self-published, and indeed make scathing remarks about them, not realising that the standard for acceptance by these companies may be more, shall we say, 'relaxed' than for literary agents/trad pub. Some writers do not even realise the difference between a traditional publisher and an independent publishing company (the latter of which can be set up by anyone), and believe themselves to be among the 'chosen few', and thus vastly superior to the self-pub.

When a writer says they self-publish 'by choice', it means they don't submit their books to publishers in the first place. It doesn't mean they've been rejected by lots of publishers but have come to terms with it. Acceptance by a major publishing house should not be seen as the only affirmation that your output is of merit; such large companies exist to make money, first and foremost, not to nurture the artist, so money invested has to be a safe bet. Saleability to the masses (and investment from large corporations) does not necessarily indicate creative brilliance; it's fair to say that creativity and making money do not go hand in hand.

But what about validation of your talent? Doesn't such acceptance give you that? Not necessarily. I've heard, straight from one horse's mouth, that being taken on by an agent doesn't necessarily mean that you're an amazing writer, just that you've produced a product that can be moulded to have mass appeal. If you want validation, wait to see if readers buy more than one of your books. Rejoice in your genuine reviews from book bloggers and the reading public.

Terry Tyler's latest, psychological thriller, novel

I've been described many times as a 'supporter of self-published authors', but I'm not. Some are dreadful. I'm a supporter of good writers, however they're published. I read a great deal; that some of my favourites are self-pub is neither here nor there. An equal amount are mainstream or small press. A book is a book; while we keep making the distinction, self-publishing will always be seen as the impoverished, embarrassing relation.

It took me a while to realise that I actively WANT to be self-published. A few readers and book bloggers have expressed surprise that I don't have a publisher, and one writer friend keeps very kindly suggesting publishers I could submit to, but I don't like the idea of anyone having control over what I produce. If you have the necessary basic talent and understand the importance of good editing and proofreading, if you realise you will have to do all your own promotion, and accept that creative freedom doesn't mean darting from sweet romance to horror, to cowboy comedy to Plantagenet history and back again, you can do well with self-publishing. Once you stop worrying about writing synopses and what-the-hell-agents-are-looking-for, or getting yet another rejection email, your writing life gets a lot easier—and you can spend your time producing novels, instead of query letters.

Connect with Terry online...

Twitter

Blog

Book Reviews

Amazon.co.uk: https://www.amazon.co.uk/Terry-Tyler/e/B00693EGKM
Amazon.com: https://www.amazon.com/Terry-Tyler/e/B00693EGKM

Social Media Book Teaser Images by Courtney J. Hall

 

Courtney J. Hall

Teaser images can be one of the best marketing tools at an author’s disposal. Studies show that Facebook posts and tweets containing images result in at least 87% engagement. Compared to about 4% engagement for posts that are all text, and taking into account how simple the concept, you might wonder why more authors aren’t using them.

A common reason – “I don’t know how to make them.”

While it’s true that an author should leave the cover design and website building to a pro, trust me – you don’t need a degree in graphic design to create eye-caching and appealing teaser images that will entice readers to find your books. All you need is image-editing software like Photoshop or Serif PhotoPlus, a stock photo, and an intriguing line from your book.

The line is, hands-down, the most important part. It has to be one that will give potential readers no reason not to want to read your book. It shouldn’t be too long, but it should be interesting. It shouldn’t give away any major plot points, but it should reveal enough of the story to be enticing. Take your time and hunt it out. Don’t rush through this step. And if you can’t decide which one to use, you can always use your tagline.

Once you have your line, you need a stock image to go along with it. Think about the mood you want to create and use that as a jumping-off point. For spooky or mysterious, go dark and shadowy. For romantic, go bright. Use a photo with scenery, buildings, or people – whatever complements the line you chose to showcase. You also don’t want it to be too busy, because you will be adding text to it. But perhaps the most important thing to consider when choosing your image is ownership. Don’t just grab any old photo from Google’s search results and use that to create your teaser. You’ll almost certainly end up with something you don’t have the necessary permission to use commercially, and it could also be pretty low-quality. You don’t want a blurry or pixilated teaser. Your best bet is to buy a stock photo from a site like Shutterstock, iStockphoto or Dreamstime. However, depending on your budget and how many images you plan to make, the cost can add up. So you can also use free, high-resolution Creative Commons-licensed photos from sites like Pixabay and FreePik, or use the Creative Commons search engine to find something from places like Flickr and Wikipedia that grant permission for commercial use.

Once you’ve chosen your image, open it up in your photo-editing software. If you don’t have anything on your computer besides Microsoft Paint, you can certainly use an online resource like Canva or PicMonkey – they also have stock photos – but I find them to be a bit limiting. And if cost is a concern, many companies offer free trials, like Adobe Photoshop, or even totally free versions of their software, like Serif PhotoPlus (you’ll just have to sacrifice certain functions, most of which you won’t even need to do your teaser images).

Apply any effects or filters until you have your desired look. Then use the text tool to add your line. Make sure your text is clearly visible against your photo. And make it pretty! Use an interesting font – again, being careful to use only a font that’s approved for commercial use, or one for which you have a commercial license). Use a bright color that pops against the background. Make it stand out! You want people who are mindlessly scrolling through their Twitter feed to stop on your photo, click on it, and buy your book.

When your image is as good as you can get it, save it as either a JPEG or a PNG file. And there you go! You now have an enticing image that will tease readers into wanting to read your book. Upload it to the social media page of your choice, and watch your sales explode!

Contact Courtney J. Hall via social media:

Facebook

Twitter: @courtney_j_hall

Retail Links for Some Rise by Sin:

 

Amazon

Barnes and Noble 

Kobo

Working with a Book Cover Designer

I've covered various topics on the subject of book cover design over the years, from How to Sell More Books with Great Book Cover Design, to giving talks on the design process. 

What follows are a series of case studies by authors who I have had the great pleasure to work with on their books, to give an insight and flavour into the relationship between author and designer from a writers' point of view.

Rohan Quine

Of the five titles by Rohan Quine so far, The Imagination Thief was the first to be published, by EC1 Digital and the Firsty Group. Its cover was designed by Andi Rivers at Firsty. The novel is essentially literary fiction, but with a touch of magical realism and a dusting of horror; and since the secret  of how to market even “pure” literary fiction has always been more elusive than most secrets, it was decided the cover should tend more in the direction of the novel’s magical realism and horror credentials instead. 

Then when Jane at JD Smith Design designed the covers for The Platinum Raven, The Host in the Attic, Apricot Eyes and Hallucination in Hong Kong, the brief included ensuring a continuity of branding, to match the same cross-genre categories. The branding elements that all five covers share in common include the use of Rockwell font in a consistent layout, along with imagery themed around eyes, faces and skyscrapers at night. The depicted locations relate to the five tales’ urban settings around the globe – as will be the case when Jane is most enthusiastically brought back on board (subject to her availability, of course) to design tale number six, which is provisionally being referred to as the Hollywood canyons novel, to be published later in 2016. A prequel to the existing five, this title will feature the same branding elements, including the Los Angeles skyline. It’s been a pleasure to see these publications adorned by Jane’s and Andi’s brilliant work, large-format displays of which are at

http://www.rohanquine.com/press-media/the-imagination-thief-reviews-media

and

http://www.rohanquine.com/press-media/the-novellas-reviews-media

Gabriela Harding

I didn't fully appreciate the importance of a cover designer until I started working with Jane. At that point, what I had in my hands was a rough, editable manuscript (in fact, she was the one to put me in touch with a great editor, so never underestimate an artist's web of contacts) which I hoped to publish traditionally. With several positive responses from agents under my belt, I suppose creating a cover was more of a caprice - something I had to do for myself, to give my work 'a face' or identity. Or maybe I knew, deep down, that I would self-publish (which I did, using the cover Jane and I worked on, which everyone loved - in fact, it's the first thing they say about my book: 'Wow, the cover!')

When I contacted Jane I had no idea what to expect. I thought Jane was some sort of a magician and that it would be dead easy to make something that will stand the test of time, or maybe even outlive me. I was right, in a way. Jane was a magician - but even a design god needs to know what is the exact wish they are expected to fulfil. I was in trouble. I was a writer, not a designer. As I flicked through the images Jane sent me, I started having cold sweats, already suspecting that I was as wrong about cover designing being easy as I was about book writing being a walk in the park. Writing is hard, editing is harder, marketing while competing with so many good books, a team of sharp warrior publishers behind them, gives you a real taste of the big bad D. You taste blood, but you carry on. And the cover is the first thing you have - the one thing people see even before reading the blurb. Unknown to me, I would find the cover design the most difficult part of writing and producing a book.

That's where Jane's role was crucial. I've lost count of the many combinations we tried. We put pictures together, and they made sense, but they just weren't MY BOOK. I started to get a little taste of the agony writers experience when the cover is being done for them by traditional publishers ( something my traditionally published friends complain about, not having a say about the cover). The agony, but also the relief. They didn't have to feel like attempting a million combinations to a stubborn safe. When Jane produced the image that would become my cover, I knew straight away it was 'the one.' And having gone through the labour of choosing got me closer to my book. It was the magic touch that changed a manuscript into a real book.

Ian Atkinson

The suggestion to write my first book, actually came from my mother. I had previously mentioned that leaving the Royal Navy after more than 32 years was going to leave me tinged with sadness and hopefully I wouldn’t forget it. Mum simply said, “Why don’t you write all your adventures down, so you can look back on it.”

Taking her advice for once, I had been doing this for about 2 years, on and off, before I even realised that I might just finish it. Up to this point, I didn’t even have a title or a cover and the prose was in a very rough, unedited format on my word processor. Having never published anything before, I didn’t know what to do and always considered publishing a book to be an expensive luxury. I simply didn’t have thousands of pounds to waste on the vain publication of my ramblings.

A chance e-mail from indie author Cathy Kirby to the Submariner’s Association wishing to research life on board a submarine was the key to the advice and the assistance that would finally see my work in print. It also served to give me a richly deserved kick in the pants and reignited my motivation to get it finished.

Cathy belonged to an on-line forum of writers who freely offered advice, support and recommendation on the writing, publication and advertising of the finished work. Amongst others, she pointed me in the direction of Editor, John Hudspith and the talented and very lovely cover designer, Jane Dixon-Smith.

After some thought, I had a cover idea formulating in my head. The title was still a work in progress, but I wanted to convey that the content covered my service on both ships and submarines. I am also intensely proud of the submariner’s ‘Dolphins’ and also the White Ensign. This seemed a tall order to include all of this and well outside of my skill set.

An e-mail to Jane followed by a phone call, trying to convey my ideas, set the ball in motion. Jane then asked for some decent quality images that she could try to work her wizardry with.

The first draft was always going to be a starting point as I couldn’t actually see what I wanted in my mind. I knew I wanted colour, it to look eye-catching and to really convey the contents. I pointed Jane in the direction of a list of already published covers to gain an idea of the sort of thing I was looking for.

This prompted an exchange of e-mails between us over the coming weeks with me providing honest feedback and Jane trying her hardest to interpret my vague description and turn it into art.

I am sure Jane was getting fed up with me nit-picking in the end, but maintained cheerful and helpful. It was as if she really cared about the cover as much as I did. Perhaps she did, after all, it would become an advertisement for her work after it had been published.

Finally, the front cover was everything and more than I could have hoped for. All of my wishes for images had been encompassed. Some of my suggestions, were tried, but they didn’t look right, on reflection, so Jane tried something else.

This email exchange continued until I was delighted with the result.

Now I needed the back cover, as the book was intended as paperback. I fudged together a blurb (yes, that’s really what it’s called) and allowed John, the Editor, to tinker with it slightly and then it was a simple matter for Jane to format it into the back cover design. I can’t remember whose idea it was to incorporate a photograph of young me, but I like it and the finished cover and the ramblings within are something that I will always be proud of.



For an in-depth look at the design process including:

- How to select and work with a designer
- What works and why
- Where to find images
- How to make informed decisions
- Why formatting matters
- What branding means to you
- How to give your book the best chance of success 

The Importance of Book Cover Design is available on Amazon.

Authors & Audiobooks – From the Narrator(s) POV

By Gillian Hamer and JD Smith

It’s a good time to be an author – indie or trad. In keeping with the theme of this month’s issue, exciting new opportunities seem to appear every month for writers: KDP, Select, Bookbub, Book Translation services, and one of the biggest events of the past twelve months into the UK market – ACX – Amazon’s audiobook service.

Here, we chat with professional narrators, Catherine O’Brien, who has worked with on the audio version of Gillian’s novel, The Charter, out later this month - and Paul Hodgson, narrator of the recently released, The Rise of Zenobia by JD Smith.

Catherine O’Brien

Hi, Catherine, Can you tell us a little about your background and how you became a professional narrator?

I was born and educated in England, and always had a love of storytelling and the dramatic arts. I worked for several years at the BBC and then moved to the US in 2010 to get married to an American! My husband encouraged me to take a course in Voice Acting at a Studio in New York, and while doing this I auditioned to produce a novel for ACX. Somewhat to my surprise I was awarded the project. That started me on my career as a voice actor, and I still narrate audiobooks for ACX, as well as my other voice acting projects.

What made you decide to join ACX?

Well, as I said, it was almost by accident, but after my lucky break with my first audition, I discovered how great it is to work with ACX.

How have you found the experience?

The whole process of matching the right book with the right narrator works incredibly well. I do work for other publishing companies and use other recording studio as well, but I have to say ACX makes is very easy to produce audiobooks in my home studio, which is wonderful!

What have been your favourite projects so far?

Oh, that’s so difficult! I have four favorites at the moment – The Charter (obviously!), a children’s thriller called The Ley Lines of Lushbury by Scott Hunter, a historical novel called Palace of Pugin: The Westminster Conspiracy by Nick Corbett, and a Regency romance called A Father’s Sins: A Pride and Prejudice Variation – coincidentally all new writers.

What genres do you prefer and why?

I actually love several different genres as you can see from my last answer! In fact I really enjoy the contrast. I like to alternate between non-fiction, fiction and children’s fiction. However, I do have a secret affection for thrillers!

Is there an element of ‘acting’ required within book narration?

Of course! The whole process is acting. In fact voice acting is far more difficult as the narrator has to convey the whole story without any visual assistance.

What have been your most successful projects sales-wise?

I have to say that the classics sell best of all. My most successful project sales-wise (so far!) has been “The Complete Little Women: Little Women, Good Wives, Jo’s Boys and Little Men” by Louisa M. Allcott. This runs to almost 40 hours (thank goodness for MP3s), and I loved every minute of this recording.

What do you think makes a successful, bestselling audiobook?

I think the key to a successful, bestselling audiobook is for the narrator to bring the story to life letting the words tell the story, without any vocal styles that may interfere with the author’s voice. That is what I always aim for anyway!

What do you look for when an author approaches you with an offer?

The main thing I look for is something that captures my interest and makes me want to know what happens! I then look for the quality of the writing – some writing styles are easier to narrate than others – yours is particularly good, and a real pleasure to narrate.

I know a lot of authors have concerns with their characters voices and how they are portrayed, how do you work on getting this right?

Whenever possible I like to work directly with the author so I can find the right tone and accent, etc. However, it can be a challenge when this is not possible, and in that case I choose voices that seem the most appropriate. I do a lot of research beforehand into the author’s style, any other books they have written, and re-read the text several times. When an accent or particular vocal style is called for the idea is not to do some sort of impersonation, but to just give enough of the accent so listeners know who is speaking.

The author gets to hear and approve the first fifteen minutes of the book, so has the opportunity to give whatever direction is necessary to the narrator before proceeding with the entire novel.

Without naming names (unless we can persuade you!) any projects that you wish you hadn’t taken on, and can you tell us why?

I am incredibly fortunate in that I’ve enjoyed virtually all of my projects – apart from one with ACX which shall remain nameless! Unfortunately the only interesting part of this book was the paragraph used for the audition piece… However, any author who has taken the time and effort to write a book deserves to be heard and I did the best I could with it. It does sell very well, so that is a consolation!

Are there any things within ACX that could be improved for the narrator or changes you would like to see made?

On the whole, I think it works pretty well. I have noticed that the time between ACX approval of the project and it going on sale has decreased considerably and this is a great improvement.

Do you think ACX is a good thing for indie authors, and authors who aren’t bestsellers, who wouldn’t usually have access to this kind of facility?

I do! I think it is a fantastic opportunity for indie authors, and authors who aren’t bestsellers to find a whole new audience. That has certainly been my experience.

Any tips for authors and narrators out there considering moving into audiobooks?

I know it can be a bit scary for authors to allow someone else to interpret their novel. However, ACX’s audition process makes it easy for you to find the right voice for your book, and allows you to give detailed direction to the voice actor. Keep an open mind – you might discover that someone else’s interpretation works even better than your own!

One tip for would-be narrators out there is please make sure you really like long form narration! Most of the books I have narrated have been between 7 and 15 hours, and bear in mind that it takes approximately three hours (including pre-reading, research and editing) for every one “finished” hour, you really do have to like what you’re doing.

My idea if heaven is standing in my recording booth telling stories to an imaginary audience, but I know that would be some kind of hell to many of my voice over friends!

Catherine O’Brien is a multifaceted actor with a love of storytelling. She has the ability to grasp the essence of a story and bring it to life. Her smooth and versatile voice is suitable for a diverse array of project types and styles: warm and friendly, cruel and cunning, professional and sophisticated.

Her experience includes works in such varied fields as romance, historical fiction, fantasy, biography, memoir, mysteries, children's books and other genres. She has voiced many types of characters both male and female, ranging from old people to children, sweethearts to cads, even angels to talking skulls.

Born and educated in England, she speaks with a natural BBC English accent, and having travelled extensively throughout Europe, she has a facility for languages and accents of many kinds.

Catherine worked for the BBC for several years, before moving to the United States and becoming a full time voice actor.

“I have to tell you that you amaze us. Your ability with different voices and being consistent with them throughout the book is phenomenal. Also, the emotions you express while reading is outstanding. I couldn't be happier.” - J Dawn King

Paul Hodgson

The Rise of Zenobia is available from Audible and iTunes

Tell us a little about your background and how you became a professional narrator?

I trained as an actor at the Royal Welsh College of Music and Drama – not that I’m Welsh, they were the only ones who’d have me – and worked professionally in theatre, TV and radio in London for a while before moving on to a writing career. On moving to the US (I married and American in the meantime) I returned to acting and founded a professional company, The Everyman Repertory Theatre, in Camden, on the coast of Maine in the far North East of the country, at the same time as holding down a full-time writing position. When I got fired from that – who needs journalists any more – the consequent drop in income precipitated me into doing what people have been telling me I should be doing for a long time – reading audiobooks. I started with a mammoth 22 hour commission of Alec Waugh’s The Balliols – a much better book than anything Evelyn ever wrote, and just continued from there.

What made you decide to join ACX?

I’d been commissioned several times by Audible and by Macmillan but the work wasn’t coming as fast as I wanted so an actor friend recommended ACX.

How have you found the experience?

Apart from a few technical hitches, which were not difficult to fix, it’s been very easy. It was my first time with them and the steps were pretty intuitive. I think I only called the help line twice, just to find out where to upload the book once it had been mastered.

What have been your favourite projects so far?

Fiction. Always. I’ve done a couple of non-fiction titles, on things like statistics and nanobiotechnology, and while you learn a lot they are TOUGH to read.

What genres do you prefer and why?

I don’t have favourites. As long as I’m being hauled along by a good story I don’t care what the genre is.

Is there an element of ‘acting’ required within book narration?

Some narrators might disagree but there isn’t an element of acting, it’s all acting. You can’t just act your way through the dialogue or listeners will lose interest in the narration. You have to feel your way through all of it. You can’t just describe someone falling in love, you have to do it. If a book gives me catharsis, I want to be able to give the listener that same feeling.

What have been your most successful projects sales-wise?

I have absolutely no idea. You can tell with ACX, but not with other narrator projects.

What do you think makes a successful, bestselling audiobook?

I feel like I’m harping on about this a bit, but it’s always the story. You need a voice that people want to listen to, I’ve bought audiobooks before, and not been able to get beyond the first few minutes because of an irritating way a male actor does female voices, or an execrable French accent or something, but that was only because I wasn’t hooked on the story.

What do you look for when an author approaches you with an offer?

Enthusiasm and confidence that they’ve chosen the right person for the job. It’s a lot of work to record something only for an author to turn round and say… this wasn’t what I was looking for.

I know a lot of authors have concerns with their characters voices and how they are portrayed, how do you work on getting this right?

That depends. If they like what you’ve done in the first few minutes and those include the main characters then you are usually good to go and can just get on with it. If they have very specific needs then it’s just a matter of enough back and forth until you get what they are hearing in their heads. I once did a short story set in Cardiff – I was probably the only actor in America who can do a Cardiff accent because, let me tell you, they don’t sound like anyone else in Wales – and the author was a Cardiff native, and I’m still working, so it must have been OK.

Without naming names any projects that you wish you hadn’t taken on, and can you tell us why?

None so far, though that doesn’t mean it’s not possible.

Are there any things within ACX that could be improved for the narrator or changes you would like to see made?

It’s been going a while in the States so I think they have most of the problems worked out already. From my point of view I might wish it were a little easier to find books that are appropriate for my voice, but it’s still not that hard.

Do you think ACX is a good thing for indie authors, and authors who aren’t bestsellers, who wouldn’t usually have access to this kind of facility?

I’d imagine it was a bloody godsend!

Any tips for authors and narrators out there considering moving into audiobooks?

Authors: do your research. Listen to a lot of voices, don’t settle for anything less than the best. Narrators… don’t take on projects you regret, he said, smiling ruefully.

Paul has a BA Hons in English Language and Literature from Durham University in England, and an MA in Performance from Royal Welsh College of Music and Drama in Wales. His first professional role was as a clarinet-playing bandleader in a show for a small touring company in London. After that he went on to work in television and radio in the capital before moving to the US. He is currently the artistic director of a professional theatre company based in midcoast Maine, in the far North East USA - the Everyman Repertory Theatre - where he directs and performs in many of its productions. He also works as a freelance writer. He has regular columns with Responsible Investor Magazine, Fortune and on Motley Fool's website, and has had several plays professionally produced, one at the National Theatre of Wales, Sherman Theatre. He is a member of the Writers' Guild of Great Britain.

He has a number of titles on Audible, including The Rise of Zenobia, Pushover, an Amazon Single, The Improbability Principle for MacMillan, and Life's Ratchet. In between times he has been recording top secret projects for MindsEye Productions and was recently the lead in a radio drama for Final Rune Productions. Before that he recorded 22 hours of Alec Waugh's The Balliols for Audible.com. He has also done a large amount of cartoon and videogame voiceover work for Slimgoodbody Productions including a wide variety of voices and characters for cartoons commissioned by PBS, ranging from Rene Descartes to Albert Einstein.

How to Create an Audiobook with ACX

by JD Smith

ACX is a service provided by Amazon where authors can hook up with narrators and turn their book into an audio book for distribution through Audible, Amazon and iTunes. Up until this year the service was only available in the US, but now it's available in the UK. Over the last few months I've been working with narrator Paul Hodgson on by book The Rise of Zenobia. You can listen to a sample here.




The Rise of Zenobia is available from Audible and iTunes

What does ACX actually do?

ACX is basically the interface you use to meet narrators, and deal with all the contractual information once you've found a narrator you want to work with. They check the recording quality of audio submitted before it's put through for distribution. And they also provide a dashboard to keep track of sales and payments.

How do I start?

You log in using your Amazon account and the set up is fairly minimal. ACX pulls most of the information of your book from Amazon and you then add a bit more information, to make your book enticing, such as review quotes and possibly sales figures.

Looking for a narrator

Don't expect narrators to come to you. I sat back waiting but only received a couple of very unsuitable offers. The voices were nothing like what I needed for my book. So I set about scrolling through and listening to dozens of samples of voices. You can sift through them easily using search functions for male/female and accent etc. 

Once you've found a few you like, message them and ask if they're interested in working with you on your book.

You can opt to narrate your audio book yourself, but be aware that it's very obvious if you're not a trained actor.

How much does it cost?

Some narrators want payment for every finished hour. So for example if your book is 6 hours long once recorded (ACX estimate this based on word count), a narrator may ask for $100 - $200 dollars for each of those 6 hours. 

OR, you can agree on a royalty split. ACX pay 40% royalty on audio books, so you and your narrator would each receive 20% for every book sold.

Some narrators ask for both a royalty split AND a fixed amount per finished hour.

Creating the book

Once I'd found Paul and we'd agreed to work together, I sent him a formal offer via ACX dashboard which he accepted. Then he was required to send me a 15 minute sample recording for me to officially sign off on via the ACX dashboard before going about recording the rest. 

Paul used a separate editor/proofreader to check over the recording. This ensured the quality was top notch and everything went through ACX quality control smoothly (note ACX are only bothered about the quality of the actual recording and NOT the quality of the writing). I've heard of both inexperienced and experienced narrators having trouble with getting recordings through quality control, and this can be a real nightmare, in some instances requiring an entire book to be re-recorded.

Some narrators send the book back in chunks for the author to check, or samples of voices of different characters. I was really pleased with the sample Paul sent and he cracked on with recording the entire book. I had no issues at all with the finished material - quite the contrary, I was astounded by the quality of it and, much to my own embarrassment, realised I'd been pronouncing an awful lot of names and places incorrectly!

Whilst your recording is taking place it's an ideal time to have your book cover adjusted for ACX specifications. They require a 2400 x 2400 pixel cover.

Once the whole book is uploaded and you've checked it, you press the approve button and off it goes to ACX quality control.

What next?

ACX usually take 2-3 weeks to approve a book and send it for distribution. If it fails to pass or there are any problems a real person will email you to chat you through the issue and how to go about rectifying it. Once they're happy it's out there!

How much does my book sell for?

The cost is set by ACX depending on the length of your book and you have no control over the retail price. Scary, eh? Not really. It means prices are fixed and everyone is on a level playing field with regards pricing, and works well for monthly Audible subscribers.

Review copies

Note that you can claim 25 codes each (author and narrator) to send off to reviewers, to use as promotional giveaways, or to give to friends. Simply email support@acx.com from your account email address and ask for them.

Earn an extra $50 with the ACX Bounty Program

From the ACX site: You earn a $50 bounty every time your audiobook is the first purchase of a new AudibleListener member. If you're sharing royalties, the Rights Holder will earn a bounty of $25, and the producer will earn a bounty of $25. Bounties are earned in addition to royalties on the sale of your audiobook. There's no limit to the number of bounties you can earn.

How To Organise a Launch Party

We’re writers, not a wedding planners. So it comes as a surprise, even to us, that Triskele Books and Words with JAM have successfully launched eleven books in the last year. We’ve made a few mistakes and learnt some lessons after organising two real live parties, and here we pass on everything we've discovered - from perfect timing to pink fizz.

1. Location 
Triskele writers are based in three countries; Gilly, Jane and Kat are scattered around the UK, Liza and I live in France and Switzerland respectively. So London was the obvious choice – accessible to all. The 2012 venue was The English Restaurant, in Spitalfields. Between Tracy Emin’s gallery and Jeanette Winterson’s veg shop, it’s easy to find, has a separate function room for 50 people and superb food. The staff couldn’t have been more accommodating.

For 2013, we needed more space. Foyles Bookshop on Charing Cross Road has a third floor gallery which can cope with 120-180 guests. David Owen, Gallery manager, is extraordinarily helpful, and book launches are his speciality.

 
2. Timing 
Six months before you’re planning to publish, check the calendar, literary and general. Our first event coincided with the Queen’s Jubilee, and our second with Crimefest. This meant several guests were unable to attend. Could do better. Weekends are ideal for obvious reasons, and we’ve found that a Saturday afternoon gives people time to travel home or go for a less formal knees-up afterwards. Send out a Save the Date email three months ahead, including an ‘RSVP for a formal invitation’ request. That way you have a clearer idea of numbers and can start thinking about practicalities.

3. Guests 
Another advantage of a collaborative launch is the broad network. We each invited family and friends, along with other writers (traditionally published, self-published, unpublished), journalists, agents, book bloggers and various industry pros. The hit rate seems to be about 70%. Yet, even though there were five of us covering the room, we hardly seemed to spend more than a couple of minutes with people. Be prepared for constantly being distracted. It’s a good idea to state there will be a specific signing time – eg, half an hour before the event winds up – so you can spend more time talking (and drinking pink fizz).

4. The event 
Three hours seems to be the optimum time for such an event. An hour’s greeting and chatting, 45 minutes of ‘event’ and the rest of the time networking and trying to get to the buffet. An MC works well – someone who’s not you. We asked writer Lorraine Mace to play host at the first event, while our own Liza Perrat took control this June. If possible, it’s worth rehearsing, to get the logistics right, working with the microphone, and ensuring the music/background noise is not intrusive. Keep readings short. On our second occasion, which launched An Earthless Melting Pot, the anthology of Words with JAM competition winners, as well as four Triskele releases, we chose to ask only the winners to read. The Triskele authors participated in a brief Q&A, keeping the atmosphere lively, but informative.

5. Food and drink 
Overcatering. On both occasions, we ended up throwing food away. Lesson learnt: provide simple nibbles (crisps, nuts, breadsticks), keep the fizz flowing and just let people chat. Order wine, champagne etc on a returnable basis. That way, you’ll not run out, but unopened bottles will be refunded. Juice, water and soft drinks can be ordered the same way. We used Majestic’s service which includes a Party Planner. http://www.majestic.co.uk/Services/Parties If you’re launching alone, or with authors in a similar genre, you might consider thematically related comestibles. A horror author recently threw an excellent vodka-fuelled bash in a basement, with The Texas Chainsaw Massacre flickering on one wall. A group of chicklit authors went with cupcakes and pink champagne on a sunny terrace, decorated with pastel balloons.

6. Books 
Order in plenty of time so you know copies will be there on the day. Print a large, clearly visible price list. Bribe a family member to act as salesperson. Provide a float and a record list of how many of which book has been sold. Bring something other than a chewed Bic for signing and take the time to practise first, especially if using a pseudonym. Invest in some book display stands and menu holders for pricelists, etc. http://www.stand-store.co.uk/acatalog/shop.html

7. Photographs 
The photos are vital to post-launch promotion, so grab the chance to get some pics with guests and books. Ensure you have dedicated posing time, ideally before the guests arrive, so you can focus and have a moment of calm. Give the photographer a list of shots you need and ask others to send their good ones. Amazingly, for a bunch of females, we forgot to discuss what we would be wearing. But through pure luck, our outfits happened to go well together on both occasions.

8. Promo materials 

We ordered generic posters and bookmarks, along with postcards for each book (cover on the front, blurb plus QR code on the back to facilitate ease of e-purchase). Don’t forget Blu-Tak. Book-sized paper bags for purchases, already primed with bookmarks and postcards are handy for people to carry their goodies away.

9. Cost 
Factor in the price of venue, catering, promotional materials, print and transportation of books. Do check which services add VAT (ahem). The cost of these two events has averaged at £1500. Not something we could have considered alone, but sharing the costs between us makes it less painful. Takings on the day are unlikely to cover the outlay, but the subsequent bump in sales, not to mention positive publicity, goodwill and the fun of an afternoon in the company of writers and booklovers makes it absolutely worthwhile.

10. Follow up 
Thank people for coming. Send those links you promised and pass on introductions. Set a Google Alert and find out who’s writing it up. Comment and say thanks. Write up your own version and share via social media. Then start planning all over again.
As for our next event? Something a little different and rather exciting. Watch this space ...


By JJ Marsh – author, reader, Triskelite, journalist, Nuancer, reviewer and blogger. Likes: pugs, Werner Herzog and anchovies. Dislikes: meat, chocolate and institutionalised sexism. Short story collection out now.

Writing A Novella – Could writing a novella be your path to publication?

By Jenny Thomson

Who could have failed to notice the rise of the novella? Where once most publishers wouldn’t touch anything with less than 90,000 words with a bargepole unless you were famous, now there are so many calling out for novellas, it’s hard to keep track.

As writers we need to grab that opportunity and get writing to join the ranks of Stephen King (Hard Case Crime), Linwood Barclay (Quick Reads) and Tess Gerritsen (Rizzoli and Isles Series) who have all published novellas. In Tess Gerritsen’s case, her novella, John Doe featured the regular characters from her novels, so she could introduce them to new readers. And that’s another role of novellas; to get people buying your other books.

Novellas are not a new phenomenon (Agatha Christie’s Three Blind Mice, which was eventually expanded and turned into her play The Mousetrap, is often described as a short story, but it’s a novella), but they are becoming more popular with publishers and readers for a number of reasons. They’re perfect as eBooks and they also suit reluctant readers who find a full–length novel daunting or who just want something to read on the beach or on the daily commute. Of all genres, romance and erotic fiction are the ones to benefit the most from the rise of eBooks as books people wouldn’t like to be seen reading can now be surreptitiously read on an e-reading device on a packed train. Novella-length fiction is perfect for e-books and that’s why there are so many opportunities out there.

But, what is a novella? Chances are that you’ll ask ten writers that question and get a different answer every time and none of them will be wrong. There’s a lot of confusion about what a novella is which isn’t helped by the guidelines offered by publishers in their submission guidelines varying so greatly. For instance, I recently received a submissions call from a romance publisher who wanted “novella-length romance stories” and they asked for 10,000 to 15,000 words. To many people that may sound like the length for a short story or a novelette (usually considered to be a piece of prose of 10,000 to 20,000 words in length). To other publishers a novella may be 20,000-50,000 words. No wonder as writers we get confused.

My first novella in the Die Hard for Girls series, Hell to Pay, comes in at 37,000 words. To me, that was its natural length and that’s what you’ll probably find when you write yours – your novella will also have a natural length. Don’t forcibly add chapters or scenes when it’s not called for. In novellas, readers will notice the padding even more than they would in a novel.

The structure of a novella differs from a novel in many ways. First off, you need to get stuck into the action or the turning point ASAP, especially when a sample is probably going to be visible on Amazon as most publishers use the "search inside” function. No word can be wasted and don’t overdo the flowery prose. You must have your reader gripped right from the start. In Hell To Pay, my heroine wakes up in a psychiatric hospital with no memory of how she got there. Immediately there are questions that pique the reader’s interest.

Try to end each chapter with a cliff-hanger or with a question to keep people reading. Chapters should preferably be short and punchy. That’s what readers expect in a novella – not meandering prose that takes twenty pages to describe the texture of a leaf or someone’s dress. Often novellas are read in one sitting.

The popularity of the Kindle platform to self-publish means there is lots of competition out there, especially in the romance, erotic fiction and fantasy genres. Not all of that competition is good, but there are lots of good writers out there, many who’ve been dropped by their publishers because they didn’t shift as many books as James Patterson (who does?). Do not under-estimate the competition because you have a track record with a traditional publisher.

There’s no time for elaborate, lengthy back story in novellas, something you shouldn’t be doing anyway. Characters' actions and reactions should bring out those kinds of details. Remember the first rule of all good fiction – show and don’t tell. Limit flashbacks as they will confuse readers. The same goes for point of view. You can have more than one point of view, but only if strictly necessary and it has got to move the story along, not drag it down so readers think “this character’s so dull, when are they getting back to the one I like?”

Novellas, like short stories, are also an ideal medium for first person POV, but that doesn’t mean they are confessionals.

The best thing about writing a novella is that you can have fun with it and take more risks than you would with full-length fiction. Unlike a novel, a novella is less daunting to write because it won’t take a year or more of work and if you find it’s not working, you can go away and do something else and go back to it. It’s easier to pick up your narrative thread.

Writing a novella can also help to flex your writing muscles, especially if it’s in a genre you’re not used to writing, and who knows you may even find that you’ve created characters that warrant a novel or a series of novellas.

When setting out to write a novella, one of the most important things is being able to describe your novella in just one sentence. Publishers and agents like to be able to describe books to others with as few words as possible. If you can’t do that then the idea you have is probably not suited for a novella as there might not be enough space to tell the story you want to. For example, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde would be: A man with a split personality; one good, one evil.

Novellas generally should have one plot, although there can be subplots. There isn’t enough room to have more than one plot. Keep that for a novel. If you’re writing crime you can have as many twists as you want. I use the Stephen King rule – think what should logically happen next and then do the opposite. If you’re surprised by what happens next, your readers will be too and that’s what makes a good novella: one that compels people to read right to the end.

Cinnamon Press have a competition that allows writers to submit a novel or a novella. See http://www.cinnamonpress.com/competitions for details. It costs £12 to enter, but with a prize of £400 and publication for new authors only, you may find it’s worth the entry fee. They also say that they’ve commissioned other novels from shortlisted entries. So, what are you waiting for?

For inspiration, why not check out this list of 20 great novellas you must read http://listverse.com/2011/12/29/20-brilliant-novellas-you-should-read/

Jenny Thomson is an award-winning crime writer who has been scribbling away all her life. A freelance journalist, her work has appeared in The Guardian, the Daily Mail and Scotland On Sunday. She’s also has 8 books published in a variety of genres, including self-help and humour.

Hell to Pay (the first in a series of Die Hard for Girls crime thriller novellas) will be published by Sassy Books on July 26th, 2013. She's currently working on the follow up, Throwaways, the second in the series that follows crime-fighting duo Nancy Kerry and Tommy McIntyre.

You can find her at http://ramblingsofafrustratedcrimewriter.blogspot.com/
www.jenniferthomson.co.uk
Or, on Twitter at @jenthom72

Indie-friendly Book Reviewers

Last year at this time, as a debut author with the Triskele Books collective www.triskelebooks.co.uk, I discovered a new world: the world of book bloggers. Before publishing a book I was not even aware of this vast and increasingly influential network of reviewers. I didn’t even know I would need to discover this brave new world.

A year later, I am certainly glad I did. Not only have reviewers provided me with valuable feedback on my book and lent weight to my Amazon listing, but many have also become incredibly supportive friends, spreading the word about my novel, and even nominating it for indie awards such as the EFestival of words awards: http://www.efestivalofwords.com/portal.php best novel category: http://www.efestivalofwords.com/2013-festival-nominee-bookstore-t358.html and historical fiction category: http://www.efestivalofwords.com/2013-festival-nominee-bookstore-t358.html

Another friendly blogger nominated it for a Goodreads group, Sisterhood of the Traveling Book which has led to more reviews, and meeting even more lovely bloggers: http://www.goodreads.com/group/show/87898-sisterhood-of-the-traveling-book

I have heard self-published authors moan about the difficulty in finding reviewers, and while there are certainly many bloggers who will not review self-published books, I’ve discovered many who will. Here is the list of reviewers I have found very helpful, as well as my original post on this subject: http://triskelebooks.blogspot.co.uk/2013/03/indie-friendly-book-reviewers.html

Firstly, it’s good to know what your readers think. Secondly, it’s often a critical part of the decision-making process for book buyers and thirdly, it lends weight to your Amazon listing.

Nowadays, most authors - not only indie-published ones - are their own sales reps, marketing managers and publicity departments. Review bloggers, who are gaining more and more respect among readers, booksellers and industry professionals, are responding to this self-publishing need to secure high-profile reviews from successful review bloggers. 

I’ve heard complaints from self-published authors about the difficulty getting their book reviewed. While there are certainly many bloggers who won’t review self-published books, I’ve discovered many who will. There are literally thousands of websites and blogs where people offer to review books free of charge. Certainly, you’ll need to spend some time searching for suitable ones, and you’ll need to approach them the right way. I’ve sent out dozens more requests for the replies I have actually received, but I’ve learned not to take it personally. Book reviewers are just as busy as the next person.

Before I list the best way I’ve found to get an indie book reviewed, I’d like to mention a few, fairly obvious, ways NOT to get your book reviewed:

• Ignore the reviewer’s preferences and guidelines. If they say they don’t review self-published books, or chick lit, sending them your self-published, chick-lit novel is a waste of everyone’s time.
• Send out mass emails such as: ‘I just published a great book. Let me know if you want to review it.’ Or, ‘If you want to review my book, click here.’ Nothing turns a reviewer off faster than an impolite, demanding request implying you are doing them a favour by giving them the opportunity to review your masterpiece. Don’t forget they are doing you the favour.
• Think the book blogger cares about you and your book. You have to entice the reviewer into devoting many hours to reading something written by someone they’ve never heard of before.

So, how does an indie author go about getting reviews? 

Make a list of possible reviewers. This takes time, but Google is fairly efficient at finding this information. Also, many authors and websites have already compiled lists through which you can scroll.

Don’t send requests to anybody and everybody. Most reviewers have submission guidelines clearly stating the genres they are interested in, and the way in which they operate.

Formulate a polite, typo-free review request document, giving the reviewer the following information:

• Who you are
• The genre of your book and the blurb 
• How, when and where your book was published  
•  If you’re offering an e-book or a paperback
  
• Any additional information such as extracts from existing reviews, interviews you may have done (with links) - anything that might be of interest to the reviewer. Bloggers receive so many review requests that they are overwhelmed. Don’t make your book look like just another one “on the pile”.
•  A last line thanking the reviewer for their time and details of how to contact you if they want to review your book.
•  Keep track of reviews you’ve requested, and replies. I use a spreadsheet. Reviewers don’t want to receive a second request - and only follow up (after a lapse of at least four months) if you don’t get a response.  
• If the reviewer informs you they would like to review your book, send them a “thank you” email and explain what type of file you are attaching, unless you are sending a paperback. 
•  Then wait, or preferably get on with your writing. It could be months before you hear back.  
• When the review is posted, write and say thank you. Even if you hate or don’t agree with the review, you still need to say thank you. And don’t bother arguing with negative reviews. No author can be a crowd-pleaser and it’s not worth your time. Again, just forget it and get on with your writing.

Enjoy it! Most book bloggers are nice people, and I’ve met some really lovely ones. If they like your book, they will spread the word. Review bloggers are worth getting to know not only for reviews, but as a long-term support group for your writing career. 

1. A list of review bloggers we have found helpful for our Triskele Books indie-published novels. 
2. A (non-exhaustive) list of sites compiled by other authors and reviewers you might want to check out.

1.
http://jaffareadstoo.blogspot.co.uk
http://thequeensquillreview.com
http://katepolicanisreviews.wordpress.com http://www.rachelsbookreviews.com

http://silversolara.blogspot.com  
http://everydayadventure11.blogspot.com 

http://darleneelizabethwilliamsauthor.com  
http://mrc-bookreviewer.blogspot.com
http://www.baumanbookreviews.com  
http://abookandareview.blogspot.com  
http://sarahshistoryblog.wordpress.com 
http://www.celticladysreviews.blogspot.com 
http://randomthingsthroughmyletterbox.blogspot.com  
http://greathistoricals.blogspot.com 
http://www.lovelytreez.com  
http://pettywitter.blogspot.co.uk  
http://thelittlereaderlibrary.blogspot.com  
http://cynthiarobertson.wordpress.com  
http://lindyloumacbookreviews.blogspot.com  
http://hookofabook.wordpress.com  
http://abookishaffair.blogspot.com  
http://virginiebarbeau.wordpress.com 
http://www.bookloons.com http://booksbythewillowtree.blogspot.comhttp://confessionsavidreader.blogspot.com 
http://beyondstrangenewwords.blogspot.com
http://tributebooksmama.blogspot.com  
http://www.nyxbookreviews.com 
http://thebooktown.blogspot.rol  
http://staceyjmitchell.com http://rivashaw.blogspot.co.uk  
http://www.peekingbetweenthepages.com  
http://preferreading.blogspot.com  
http://darlynandbooks.blogspot.com.au 
http://mustreadfaster.blogspot.com  
http://adreamwithindream.blogspot.com  
http://muse-in-the-fog.blogspot.com  
http://www.selfpublishingmagazine.co.uk  
http://brookcottagebooks.blogspot.com  
http://studentspyglass.com  
http://booksaremywayofliving.blogspot.com  
http://ageeksbookshelf.blogspot.co.uk  
http://uncorkedthoughts.blogspot.co.uk 
http://unabridged-expression.blogspot.com  
http://historicalnovelsociety.org 
http://womenshistoricalfiction.blogspot.com 
http://wildmoobooks.blogspot.com  
http://safaripoet.blogspot.com  
http://meen-readingjournal.blogspot.com  
www.publishingperspectives.com  
http://novelheights.wordpress.com  
http://novelsuggestions.com  
http://madhousefamilyreviews.blogspot.com  
www.laydilejur.com  
www.jungla.co.uk  
http://judgingcovers.co.uk  
http://eurocrime.blogspot.com  
www.ebookmagazine.co.uk  
www.culturalconstellations.wordpress.com  
http://bookmomma.wordpress.com 
http://www.asiturnthepages.blogspot.com  
http://reviews.futurefire.net  
http://bookdout.wordpress.com  
http://www.thcreviews.com/cgi-bin/vts/  
http://writermirandastork.wordpress.com/ 

2. 
http://www.gregscowen.com/2012/02/a-few-indie-book-reviewers/  
http://www.indiebookslist.com/reviews/  
http://www.theindieview.com/indie-reviewers/  
http://www.thewriterssite.com/direct 
http://writersresourcedirectory.com  
http://www.midwestbookreview.com 
http://www.thekindlebookreview.net/author-resources 
http://www.newbooksmag.com  
http://greathistoricals.blogspot.com

http://theroyalreviews.blogspot.com  
http://awesomeindies.net http://thenextbestbookblog.blogspot.comhttp://bookbloggerdirectory.wordpress.com  
http://www.booksneeze.com  
http://directory.kaysbookshelf.com/ http://indiereader.com/  
http://www.darkissreads.com/  
http://www.farmlanebooks.co.uk/  
http://www.indiepublishers.blogspot.com  
http://futurebook.net  
http://www.nightowlreviews.com  
http://www.reviewingtheevidence.com 
http://www.compulsivereader.com

You can find me, Liza Perrat, here:
www.lizaperrat.com
www.triskelebooks.co.uk
http://lizaperrat.blogspot.fr/
http://triskelebooks.blogspot.com
@LizaPerrat