Publishing Advice for the Faint Hearted

My new non-fiction book,
to be published in spring 2023, by Saraband.

There is an ocean of publishing and self publishing advice out there already, some of it very good indeed, and I don't propose to reinvent the wheel. But given that I'm a 'hybrid' writer - both traditionally and self published, roughly half and half - and also that I'm 'contaminated by experience' as somebody at the BBC once described us more mature writers and I'm sometimes asked for advice, I thought a few pointers might not go amiss. 

1 Don't self publish too soon. 

If you want to try for a traditional agent and publisher, then by all means go down that route first. Polish your manuscript till it's as good as it can be, and start sending out those query letters, those sample chapters, those synopses. Do your research. Be professional about it. Be polite. Don't harass people. (You should see the emails some would-be writers send to publishers!) But at the same time analyse your ambitions. Do you just want to get this one book 'out there' or are you planning for the long term. In which case ...

2 Don't wait too long to self publish.

By which I mean, don't hang about for years, hoping that you're going to hit the big time. Agents and wildly successful writers will tell you that if you persevere you will get there, and you may. But you may also waste half a lifetime on a single project. Bestsellers are the stuff of our dreams. Steady sales, even small ones, are possible. You might be surprised by how many writers combine self with traditional publishing these days.  

3 Don't keep polishing the same book, over and over.

Well, you can. I've done it more times than I care to remember, but mostly because I hadn't got it right the first or second or third or fourth time and in general I love to edit. Whatever you do, do not keep rewriting your book to the demands of a string of different editors, because nothing is more certain than that it will eventually implode under the weight of contradictory demands. 

Take The Amber Heart. That was by far my longest saga of rewrites, a book that I'm pretty satisfied with now. I'm very glad it's out there, and reasonably well reviewed. But at one point, two different agents had told me to delete a third of it. Unfortunately, one wanted me to lose the first third and one the last third. I did neither, but I certainly pruned it drastically and then rewrote large chunks of it as my skills as a novelist improved. I enjoyed it, but it took years, and I was writing plenty of other things at the same time. The trick is not to get bogged down in one project.

4 Do keep on writing. 

Write your next book while you're trying to sell the first, and write another book once you've written that one. Practice makes perfect. You'll be learning how to write while you're doing it. We all have bottom drawer novels that should probably never see the light of day. But once you have a significant body of work, you can decide which projects have 'legs' and which you've lost interest in. Then you can choose what, if anything, you want to do with them. 

5 Time is a good editor.

If you can leave a book - or any piece of writing - for a few months, even after you think you have edited it to within an inch of its life - you will see not just typos and repetitions and infelicities, but all kinds of structural things that you want to work on. This is another reason to be prolific, to leave one project in abeyance while you work on something else. The other tip is to send your manuscript to your Kindle and read it on there. Problems will leap out at you, because you're seeing it in a different format, much closer to print.

6 Write for love, try to publish for money. 

Samuel Johnson said no man but a blockhead ever wrote, except for money, but almost nobody publishes for money these days and we're not all blockheads. Publishers, except for the big corporations, don't make much either. If you want money, buy a lottery ticket. But although you will and should write for love, remember that publishing is a business, whether it's yours or somebody else's, and you should treat it as such. Be polite, be thoroughly professional, but don't assume you always have to be a humble supplicant either. 

Bird of Passage was definitely a labour of love!

7 Be realistic about selling

I know a number of writers who boycott Amazon. Oddly enough, they don't ever seem to demand that their publishers boycott Amazon too. There are some truths in their stance. Amazon doesn't pay much tax here in the UK, but that's the fault of the government who don't ask for it. And it isn't only Amazon. If you're reading this on a smartphone, check just what your phone company doesn't pay in UK taxes either. At the same time, you could look up just who owns the UK's biggest bookseller. 

'I prefer to buy from a small business,' people say, and so do I. But the fact is that thousands of small businesses (some with bricks and mortar stores too)  trade on Amazon, thrive and pay their taxes, because no small business will get anything like the publicity, the digital footfall and customer security a site such as Amazon will deliver. I notice that Amazon is starting to flag up these small businesses, and good for them. 

8 Be realistic about your own skills

When I first decided to self publish some of my older titles, I did it through Amazon's Kindle Direct Publishing and still do. They have made it progressively easier over the years. I can also put new, experimental (for me) work out there, such as Rewilding. More recently, I decided that three of these older, recently revised novels deserved to be in paperback. While I can format for Kindle, which is fiddly but easy, I soon realised that formatting for print-on-demand paperbacks was a much harder proposition. Ironically, one of the ways I realised this was when reading a book that had been published by a small publisher, only to find 'printed by Amazon' on the back and to realise that the company had made a terrible job of formatting the paperback.  

After some searching, I discovered Scottish based Lumphanan Press, who now help with my formatting for paperback. I pay a flat fee and they make a truly excellent job of formatting text and cover so that I can upload it myself. I'm delighted with the finished product and it means I have some copies to sell alongside my traditionally published books, at various events. I either use my own photographs or my husband's artworks for the cover images. (I'm aware that I'm lucky to have a painter on hand.) I should point out here that Lumphanan offer a full spectrum of services, so if you want more extensive professional help with your project, you can get it. They are emphatically not a 'vanity press'  and they will never do the hard sell -  but they will obviously charge realistic rates for the services they offer. Finally ...

9 Live in hope.

I don't make any fortunes out of my writing. I never have. I have had spells of making a reasonable living but it was always a switchback. A giant game of snakes and ladders. Now, between my traditionally published work, some paid events, a pension and a small monthly payment from Amazon (who pay every month, on the nail) - my artist husband and I get by. I also sell antique textiles online to supplement my writing income. I'm not retiring any time soon and have a big new project in mind. But I know people who have made quite a lot of money. Those self publishers who have done this have treated it as a business. They do indeed write for love and publish for money. And they are prolific. Not all of us can or would want to do that and some people just want a traditional deal. For some, seeing their work in print is enough. There is no single right way - but it is good to be aware of your options. Do feel free to comment or add questions. 

 Whatever you decide to do, go for it wholeheartedly. Love what you do. And good luck! 

Ice Dancing is a grown up love story and - in terms of reviews -
probably my most successful book! 

Self Publishing - Finding the Right Help

Original cover art for Ice Dancing

I don't normally write 'how to' posts, these days . But I keep meeting writers who want to dip a toe in self publishing waters, either because they have old out-of-print books nagging away at them, or because they've written more than their publisher can reasonably cope with, or because they are tired of the long slog towards traditional publication, or because they have a project that they just want to get 'out there'. 

As well as researching a new project for my traditional publisher, I've spent some time during lockdown  revamping a couple of older books. I'd already published both of them as eBooks on various platforms, but I wanted them to be available in paperback. Both of them were well reviewed, and when I went back to them I still quite liked them. Always a good sign. Like most writers, I have several bottom drawer 'practice' novels that ought to stay just where they are - but these had fallen into the gap between publishers.

First I tackled Bird of Passage, and then moved on to Ice Dancing. Let's face it, most print on demand paperbacks are never going to be as lovely as the books my publisher, Saraband, makes. They've produced some wonderful covers and beautifully designed books for me. On the other hand, if you want only a few copies, and also want your books to be available in paperback for those who can't cope with eBooks, then you might well want to look at POD paperbacks. 

My advice to anyone with even a modicum of tech skill - by which I mean if you can handle a blog like this one or sell on eBay - would be to publish your own edited eBooks, but get some help with formatting the paperback. As long as you're thinking of a normal novel or collection of short stories, it has become easier and easier to publish an eBook. I use Amazon to start with, and D2D for every other platform. You need a good clean edited Word document, and a cover, or a good cover image - and that's about it. 

I'm lucky in that my husband Alan Lees is an artist, so I can pinch his images for some of my covers. He painted the cover image for Ice Dancing, for example. Sometimes I use my own photographs. Amazon itself will give you basic cover design for eBooks, and if you're only going for the eBook version, and have a good strong image in which you own the copyright, that's probably all you'll need. But there are excellent freelance designers out there as well and you could and should think of commissioning them. 

Paperbacks are much more tricky. The paperback will demand a formatted PDF and a specific cover design, and if it's not done properly, the upload process will be fraught with difficulty. I took one look at the 'easy' instructions and realised that it wasn't for me! But I didn't want to hand over control of these two books to anyone else either. A friend suggested a company who had published her paperback, but I bought a copy and although I loved the actual book, I found the formatting, both for eBook and paperback, not as good as it might have been in return for quite a restrictive contract. There seems little point in doing self publishing, only to lose control. 

Then I found the excellent Lumphanan Press  here in Scotland. And I've been more than pleased with the service they offer. They will give you the help you need, without the hard sell so often associated with other companies. I wanted a decent cover design, for which I supplied my own images and blurbs  - and I wanted a formatted PDF that I could upload smoothly and that would produce a reasonable book. Both of these were supplied at a price I could afford. Both uploaded without any tears. I tweaked the blurb myself, realising that my original draft for one of the books had been far too long for a paperback cover - something you tend to notice only when you actually see it. 

The other error was entirely my own fault. Post edit, I had managed to delete a whole chapter from one of the novels, and then foolishly reformatted the chapter numbers so that I spotted the omission only at the last minute, when I was doing a final proof check of the PDF. Fortunately, Duncan at Lumphanan came to the rescue immediately and inserted the missing chapter without any fuss. (I always save many drafts so the chapter was still there of course!)

Realistically, I'm not expecting to make much if anything in the way of profits from these two books. And there will be a third that I'll bring out once I've completed my current traditional mega project. But they always felt like unfinished business, a few people had asked for them - and for all that I do most of my fiction reading in eBook form, these days, it's still good to hold the solid reassurance of a paperback in your hand.

If you want more distribution without being tied to that big river place, there are other print on demand options. I have friends who sell large numbers of their very popular self published paperbacks at fairs and shows, and whose local bookshops will stock and publicise their books. There is, if you look for it, a great deal of help out there, plenty of people who know more than I do about this, and are generous with advice.

Just make sure you don't sign away your rights to somebody who will then go on to demand large sums of money for doing many of the jobs you can either do yourself, or sub contract to experts. That's vanity publishing, and still a bad idea.

Needlework, Wise Women and Kindles

Ayrshire Whitework in magical detail.

Last night, I went to a neighbouring village to give a talk to a group of ladies from the church 'Guild'. They were all what you might call older ladies, the kind of people easily dismissed by the young and cool. The meeting - in a warm, light church hall - began with a hymn and a prayer and ended with a hymn and a prayer. I've done this talk often before. I take my collection of examples of Ayrshire embroidery - along with a few other bits and pieces of interesting old needlework - some of it dating from 1840, one or two other pieces from 1800 or even earlier, and talk about the history of this magical embroidery, where it came from, how it was made, who did it and why. Even mixed groups of men and women seem to enjoy handling this work. It is, it has to be said, so beautiful, so microscopically fine, that you do find yourself wondering, as this audience so clearly did, just how women working by candlelight or oil lamps in dark little cottages, in the early 1800s, could possibly have created something so amazing. They would gather in a single cottage to share expensive candles, or work outside, sitting on turf or straw covered stones, to take advantage of natural light. Their health suffered, eyes and lungs in particular. The work - as so much 'women's work' - was undervalued. And remains rather undervalued even to this day, locally, although collectors in America will pay high prices for fine examples. Embroidery is on my mind at the moment, because one of the characters in my new novel, The Physic Garden, is a talented needlewoman, and her needlework figures largely in the story.

The ladies of the Guild were, as they always are on these occasions, interested, kind, positive, cheerful and hospitable. They could give lessons in how to treat a visitor to some other groups I've spoken to. The 'Rural' are the same. I always come home feeling inexplicably happy, although slightly worried at the average age of these groups, wondering who will come along to take their places. Mind you, the Rural, in farming areas like this one, seems to have no shortage of new, younger members.

At the end of the evening, when we were chatting over the tea and biscuits, one of the ladies reminded me about a trilogy of radio plays I wrote some years ago. It was called The Peggers and The Creelers and it was set here in the West of Scotland, a series of plays about the fishing families of the coast, the inland boot and shoe makers, and the traditional tensions between these two groups of people. I had done some of the research for my Masters degree and then written a series of plays about it. There was a certain amount of mistrust between the two communities and it fascinated me. When the plays were broadcast, people would stop me in our nearby town, to talk about them. One farmer told me how he had been listening in the cab of his tractor, and realised that he was in the very field where the characters were standing.

Last night, the lady told me she still had the plays on tape and listened to them from time to time, because she had enjoyed them so much. Last year, when I was sorting through all my old manuscripts, I found a big box of flimsy typescript. It was The Peggers and The Creelers, written as a trilogy of novels. I had forgotten all about them. Back then, I still did daft things like that. Thousands and thousands of words, just for love. And I remembered that my agent at the time - we're talking many years ago - hadn't even read them because, so she remarked, 'nobody wants historical fiction at the moment.' Last night I found myself talking about all this with enthusiasm. 'I'd love to read them,' my questioner told me. Oddly enough, she isn't the only person to have reminded me about those plays, those stories, over the past few months. And although back then, I could see that this might have been a niche project and something no traditional publisher would want, I can also see now that with the advent of Kindle, and Print On Demand, things might be different. Because the diaspora of people with Ayrshire roots is a large one.

So, when The Physic Garden is finished, and a few other projects are under way, I may well dig out that box of flimsy typescript and - in the second half of this year - see what I can do with the Peggers and the Creelers as a series of eBooks, for Amazon's Kindle, in the first instance. As I packed up my lovely whitework, last night, and got ready to leave, the lady who liked my radio plays said 'I hope you do publish them as novels. I'll look forward to it.'

Thinking, in that company, that I might well be among people who favoured paper books over eBooks (the smell, the feel, the permanence) I said 'Well, they'll be on Kindle first and maybe as paperbacks after that. )
'Oh no, dear,' she said.'I have a Kindle now. Wouldn't be without it.'