Flogging the Quill

Self-publishing tips

Author Allison Winn Scotch, a best-selling author, was asked about self-publishing, something she did for one of her novels. Since much of my editing and book design is for self-publishers in addition to the book design I do for small publishers, I thought it would be good to share it with you.

While you can read “Keep These Tips in Mind When Considering Self-Publishing a Book” in its entirety here, these highlights caught my eye.

“I put the book through all the paces that it would have gone through had I opted for a traditional publisher.”

“I think it is super, super, super important to go through a very hearty editing process.”

As to that last one, if you follow my flogs of Bookbubbers who offer free books, you know how crucial that part of the process is.

For what it’s worth,

Ray

Do you know the basics of copyright law?

We all know that we need for our work to be copyrighted to protect ourselves from others profiting from our work, but what are the facts? Check out this Writer’s Digest article, “6 Questions Writers Ask about Copyright and the Law” by Chuck Sambuchino.

A good primer. The points that are covered:

• Do I need to register my work with the U.S. Copyright Office to hold a copyright on the work?
• So since I do not need to “super copyright” my work to have basic protection, is there any real incentive to doing so?
• I’ve heard that if I mail a copy of the printed work to myself, that proves copyright. Is that true?
• Does a copyright protect ideas?
• What are the legal ramifications of reproducing song lyrics in a manuscript? Also, can I use a song title as the title of my book? I have personal experience with this—I used song lyrics in my novel The Summer Boy and then either took them out, referred to titles, or otherwise referred to lyrics in ways that didn’t duplicate them exactly.
• In a work of fiction, what restrictions exist on using the names of professional sports teams, TV networks or real people?

Ray

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© 2015 Ray Rhamey

Advice for Indie writers from Indie publishers

If you’re considering going the self-publishing route, go to this article full of insights from writers who have been there. And then go to my website for how I can help writers publish strong books. Here’s an excerpt from Self-Publishing Stars Speak Out by Betty Kelly Sargent:

“Before you do it, take time to understand why you’re doing it, to research your opinions, and to hire experts if needed to help you achieve your goals. Take enough time to produce a product that’s worth your reader’s time and money.” Jane Friedman

For what it’s worth.

Ray

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© 2014 Ray Rhamey

How self-publishers can maximize earnings

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I’ve put up an information-packed article on how to maximize your profit when self-publishing an ebook. Go here.

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Please consider nominating FtQ as a Top 10 blog for writers

The annual top 10 blogs for writers conference on the Write to Done website is now running. Writers have until December 10 to nominate blogs.

I would appreciate it if you would nominate FtQ. Here are the guidelines:

How to Nominate Your Favorite Writing Blog:

• Nominate your favorite blog in the comment section.
• You have only one vote (only your first will be counted).
• Please include the web address of the blog.
• Explain why you think the blog is worthy of winning this year’s award.

To make the cut, a blog must be nominated more than once.

Nominations must be received by 10 December, 2011.

The URL to use for FtQ is: www.floggingthequill.com

More information is here.

Thanks in advance for your support.

Ray

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© 2011 Ray Rhamey

Help critique an author’s new book enticement package

M. K. Yarborough has sent the things I call an enticement package for Shadow Keeper—the book cover, blurb, first page, and first two chapters. A genre wasn’t specified, but it seems YA to me.

Please help this author--take a look and give constructive feedback with comments and the poll below. I have some thoughts on the cover that I’ll share after that.

Brendon Alexander watched his father die, but has no recollection of the horrific event. His mother won't talk, but his dead grandfather will. While staring into the flames of a campfire, Brendon discovers a gateway to the spirit world. His grandfather appears on a puff of smoke and tells him of the gift he inherited from his father: He has the power to force a demon from an inflicted body and send the creature back to Hell.

Lisa Stratton, the new girl at school, shows up with a few secrets of her own—her father is possessed by a demon. She realizes Brendon is the key to his recovery, but can he help? She flirts with Brendon, hoping to discover if he has the ability to cleanse the evil from her father’s body.

The closer Brendon gets to Lisa, the more he discovers buried secrets from the past. Not hers, but his—his father’s death and the creature that killed him, and the legacy handed down to him from beyond the grave. Burning curiosity and frightening nightmares thrust Brendon deeper into his past while Lisa urges him forward into danger—and into his destiny.

The first page:

After the flash of lightning, I waited for the peal of thunder, but instead, a long pitiful shriek echoed from outside the house. A shiver rippled through me, making my flesh prickle. I threw back the covers and crawled from the bed.

Thunder crashed overhead as I searched for the pullcord in the heavy folds of the curtains. I yanked them open, but only a black void stared back at me. Dark storm clouds blocked all illumination from the stars and moon.

I cracked open the window and pressed my ear against the mesh screen. No shrieking howl, no gusting wind, not even a drop of rain on the patio outside disrupted the silence.

A bolt of lightning streaked across the sky and the night turned bright as day. I squinted to shield my vision from the burst of light, but not before glimpsing a shadowy figure lingering at the edge of our yard near the alfalfa field. A mournful howl ripped through the air and mingled with the clap of thunder. The creature twisted lower to the ground and disappeared into a clump of oak trees.

A cold chill snaked up my back. I blinked my eyes. Was that an animal, or a man scurrying into the cover of the trees? Not certain what I’d witnessed, I scratched at the stubble on my neck while backing away from the window.

“Ow,” I yelped when my foot scrapped against a sharp object. I hopped around on one foot while rubbing at the heel of my other.

“Brendon?” my little brother mumbled from the upper bunk.

“Yeah, Stevie. It’s me. I think I just stepped on your dinosaur.”

“Give it back,” he said in a sleepy voice.

And this is a link to a PDF of the first two chapters.

Good luck, M.K. And to other self-publishers out there, this is a free opportunity to see how well your work entices.

My thoughts on these elements:

Cover: there’s a mood there, the color is vivid, and the silhouette image suggests shadows. However, I think the overall design says “not a professionally published book.” Part of the reason is the font selection and treatment. It mostly serves the purpose, though the author name is too small for me. But the selection, the leading of the lines and the kerning of the characters don’t feel like “pro” to me. In short, this cover, while its color might attract attention, could also give a potential buyer doubts about the quality of the story.

The first page: the writing is sound, though I would have done a little editing—but you know me. The tension started to fade at the end. Because the opening did raise story questions and suggested some kind of encounter ahead, I would have turned the page.

The chapters: again, good writing, but the need for a little editorial coaching showed up. The first chapter didn’t increase the tension. Instead, it got into exposition and backstory, and delivered no hint of the story the blurb talks about.

The second chapter got our boy to school, where we got more exposition about a girl who sleeps around. Finally, the mysterious new girl arrives. I suspect the new-kid-comes-to-school scene is a bit of a cliché in YA fiction, and I would look for a more dramatic way to meet her. The only tension aroused in this chapter was the question of whether or not these two would get together, and, since we already pretty much know the answer, that tension fades. The second chapter opened with an allusion to the mysterious events that started the first chapter, but quickly left that and went into the more mundane. There was no more about the story the blurb mentioned. My suspicion is that the story should start later.

It might interest you to see what bestselling author M.J. Rose, who started her career as a self-publisher, has to say about what Indie authors should do about editing.

However, I encourage you to read them and form your own opinion.

Please share your thoughts on the storytelling even if this isn’t your genre. Thanks.

Ray

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© 2011 Ray Rhamey

FtQ&A #3 – does my self-publishing pay for itself?

These are the last questions I’ve received for FtQ&A—if you have any, please email them or use comments. Ask about craft, writing, editing, self-publishing, etc.

Marsha asks, “1. Are novellas (short digitals) selling?

2. How long did it take you to recoup the money you invested in your first book? A year? 2 years? 3 years?”

1. I confess to absolute ignorance about the sales of e-novellas. I did a quick Google search, but didn’t turn up anything useful. If a FtQ reader has some input, please share.

2. My first Indie-published book is Flogging the Quill, Crafting a Novel that Sells. I published it in May, 2009, and have sold over 500 copies since then. It was published in paperback only, mostly because of the illustrations and photos that pepper and enliven the book, and because of its workbook size, which some buyers really like. There are lots of reviews here.

Even though I have always viewed the publication of Flogging the Quill as a marketing effort designed to get the word out that I do editing and to provide an insight into how I think and edit, and even though I priced it to be competitive, not rake in profits, I figure I’ve about broken even on the printing and distribution costs.

That’s with a traditionally published book—printed copies stored in a warehouse and distributed to both the online bookstores and brick & mortar stores, and a book that can be returned. On the POD and ebook side, the story is different.

My investment in creating an ebook is only my own time. I know how to format them for production by Kindle, Nook, Smashwords, etc. (and offer that service to self-publishers). I also do the cover designs (and offer that service to self-publishers).

For the POD (print on demand) copies, the investment is $105 to produce the book through Lightning Source. That gets it distribution through all their partners—Ingram, Amazon, Barnes & Noble, etc.—and it can be ordered through physical bookstores. A case of books to use to promote the title cost a little over $160, shipped to my home. Then there are envelope and mailing costs involved with sending out review and blurb copies. But, still, the total cash investment has to be less than $250.

At this point, I’ve recovered the initial costs for the POD The Vampire Kitty-cat Chronicles, through the sale of print and ebook versions. Ebook sales are picking up, and POD sales trickle right along, including a fair number in Britain. Generally, it succeeds with readers. Even though a couple of early Amazon reviews were 1 or 2 stars, it currently averages 4 stars on Amazon. It has an edge to it, and you either get it or you don’t.

The other POD book, We the Enemy, is just getting started. It’s getting some good reader reviews.

I’m producing a POD edition of Finding Magic this month, and will announce it here. Shortly thereafter I’ll publish my fourth novel, The Summer Boy (which provoked an unexpectedly strong positive, “couldn’t-put-it-down” response from beta readers).

For me, the biggest reasons to create POD versions are two:

1. Physical copies are often the only way to get a book reviewed. Midwest Book Reviews requires the submission of 2 copies, and they must be the published version, not ARCs.

2. I can promote/sell them at the workshops I do.

I probably shouldn’t count this as a benefit, but just holding a physical book is worth a lot.

Remember, if you have questions, please let me know.

For what it’s worth.

Ray

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© 2011 Ray Rhamey