Becoming an Author in the Digital Age

Ahmad Meradji
Publisher

You’ve just finished reading the latest hit book series, which will soon be in theatres as the next hit movie series, and you’re dreaming of becoming a famous author. Days of writing on a beach, a big advance check, a publicity manager handling your press tour to big cities…Wipe the sand from your eyes, you were dreaming! The publishing world has changed. The days where all you needed was your typewriter or computer and your beautiful mind are gone.

Today’s author has to be more than just a great writer. They also have to be a businessman, salesman, and publicist all in one. The further technology advances, the more the publishing industry is changing, and the more authors are affected.

Great writing ability is still the key to ultimately being successful as a writer. I don’t mean great characters and plot—what about your use of the English language? Are you bad at spelling? Do you use punctuation properly? The more technology changes, the fewer filters (i.e. editors) there are between the author and readers, and the higher the chance of poor writing reaching the reader. Today’s writers may also be writing materials related to the promotion of their book, and will need the skill to write those as well.

Are you ready to run your own business? If you want to be an author in the digital age you’ll need to be. As fewer and fewer authors are picked up by traditional publishers, here are some things you’ll face: deciding whether or not to form an LLC, production and distribution costs, budgeting for future books,  reporting sales taxes to the state, and more. Publishing a book is just like forming a business. You are creating a product and putting it into the marketplace with the goal of selling it. Once written, a book must be published and promoted like a business, by someone who thinks like a businessperson, not just a writer.

How comfortable are you speaking in front of strangers? Now what if you have to sell your book to a whole room of strangers in two minutes or less? Today’s author needs to act a bit like a salesperson, prepared to speak comfortably but succinctly about their book at a moment’s notice, and get total strangers to make a purchase. And what if you’re not with buyers in person, can you come up with tactics to get them to buy your book? Today’s authors are responsible for more and more of their own marketing, and yes, that includes those who are published by traditional publishers.

Are you up to date on the latest social media? Do you know what Vine is? You’ll need to know if you’re an author in the digital age. Social media is a critical tool to promote your book. You may say you’ll find someone to do it for you, but force yourself to learn it! A general comfort level with today’s technology is critical as an author.  You never know when you’ll need your website or Facebook page updated and suddenly have no one but yourself to do it.

If some of this sounds overwhelming, don’t let it stop you. There are lots of resources out there to help today’s writers on the path to becoming a published author, such as workshops, blogs, and writing groups.

Building a Good Author/Illustrator Relationship

Laura Kajpust
Graphic Designer

Whether you are an author looking for an illustrator or an illustrator hoping to draw someone’s newest book, the last thing either of you want is for the project to end with stress, resentment, or more problems than it’s worth. Having a good author/illustrator relationship is important, especially if you’re creating a series and want to keep the same look. Spending time with each new book trying to find an artist to replicate the original style because the relationship fell apart isn’t a good use of time or resources!

So how can you start a relationship off right? Here are some things to keep in mind:

The contract is CRUCIAL. Always have a contract. Always. Even if the artist is your friend, a contract is the only thing that will protect you in case things go wrong. A good contract should detail the scope of the work, how the work is going to be used, who owns the rights, and deadlines for both the work and payment—and also what happens if one party cancels the project, fails to complete the project, or fails to pay. Remember that the contract is intended to protect BOTH parties. The author is worried about getting what they paid for and having their expectations met, while the artist worries about getting paid and receiving credit.

If the contract is written solely in the interest of one party at the start, this lopsided favoritism will inevitably create friction with the other involved. Don’t be afraid to negotiate and explain why you feel changes to the contract should be made. If the other party isn’t willing to compromise or even discuss the issue, that’s a good indicator that they may not be someone you want to work with.

No payments should be sent and no work should be started until a contract is signed.

Remember respect. If your artist doesn’t feel like you value or respect them or their work, it’s going to affect how they work with you. Likewise, an author who doesn’t feel respected will begin to resent the artist.

It is extremely easy to forget how much of a skill illustration is. It took the artist years and years to get to the point they are now. You are hiring them because they are bringing something to your project you can’t do yourself. Please be sure that what you pay reflects the ability they’re offering you. Keep this in mind with artists fresh out of school, too—you may be tempted to use them because they will offer a lower price, but remember their inexperience. They might have no idea how much work a children’s book is until they do it and only at the end realize they should have been paid more and feel undervalued. So if they offer you an extremely low price, make sure you communicate clearly and the artist understands what they’re getting into before either of you begin.

Set clear expectations. If your artist does not explain their process, make sure you ask them to. When do you get to request changes—before a page is finished, after the initial sketch, or at the very end? What kind of changes might incur an extra cost? How long will each page take them? How often will the artist keep you updated on progress—every week? Once a month? Are they okay with you asking for an update? How much are they expecting you to be involved? Some artists prefer to get all the information in the beginning and then be left to their own devices, while others like to get continuous feedback from the author as they go. Knowing what your artist prefers—and what way you prefer—is important to working together successfully. Also, what kind of feedback are they expecting from you? All of these questions should be addressed before either of you sign a contract.

The clearer both of you are with how you anticipate and explain how the relationship will work, the better off you will be. Maintaining professionalism is also a key aspect of keeping the project going strong. This doesn’t mean that you can’t be friendly, just that neither party should let themselves be walked over by the other. An author should feel comfortable enough to tell the artist they got something wrong or don’t like something. Likewise, an artist should feel comfortable enough to tell the author when they don’t think a change is a good idea and why. Both should go in having the correct expectation for collaboration.

Remember the project! At the end of it all, you’re both in it for the project. Both of you are bringing it to life, adding what skills you have to offer to create something great. As always, communication is everything, but don’t let personal feelings distract you from doing your best.

Authors, your artist may be as nervous to work with you as you may be with them.

Artists, the author is worried about whether or not you’ll take good care of their “baby”!

You’re both creative people, but your skill sets are different. That’s what can make an author/illustrator relationship great! Stay on the same page, communicate, look out for each other’s best interests…and do the best you can. With a little bit of teamwork, you’ll do just fine and come out with a great book. And, hopefully, a relationship that’s solid for the next one!

Social Media Marketing for Authors, Part I

Ian Douglas
Marketing Coordinator 

Social media has become one of the most effective forms of global communication, allowing businesses to reach new, previously unavailable audiences with the click of a button—for free! The different platforms available have continued to multiply, each unique in its approach to reaching and captivating millions of people, every second of every day. There is a good chance you found this blog post through one form of social media or another.  Neglecting the potential clientele social media can bring you is no longer an option. But to those who are not well versed in the many incarnations of the social network (i.e., people not in their twenties and thirties), this can seem like a daunting task. It’s important that you understand social media marketing fundamentals, from maximizing quality to understanding what platforms are best for your book. This blog is the first in a three-part series that will help you understand social media platforms and how you can utilize them to sell more books.

The most important part of the marketing effort for any author is identifying the book’s value proposition. The value proposition should be solidified before you set up any social media account. This is going to be the crux of your marketing effort; everything you do with your book should revolve around it. If someone were to come up to you and ask, “Why should I buy this book?” your value proposition would be your reply. The value proposition may end up as your back cover text, so it’s important that you optimize it as much as possible with keywords that will increase search engine efficiency and readability.

Identifying your target audience is the next crucial step in your marketing effort. Nailing down the broad demographic factors that make up your audience will enhance your marketing endeavor, resulting in tangible gains and measurable improvement. The first step in identifying your target audience is realizing that it is not everyone. Think hard about the factors that would make up your potential reader. Sex, age, education, income, and family status should all be taken into account. If possible, identify these before you write.

I have an account, but what do I say? For better or worse, social media has given everybody a voice. The opinion of the common man can be immediately transported across the globe from any place at any time. This immediacy changed many aspects of society, especially marketing. People no longer want to be constantly marketed to. Instead, they want opinions from people they can trust. Whether it be friends on social media or a review they read on a website, it is important to realize that you need to court your clientele before bombarding them with sales pitches. How do you do this? Give them something for nothing. Abide by the 70%-30% rule. 70% of your content should be entertaining or informational while only 30% should be marketing your book. Entertain them while establishing your brand. Build their trust before you ask them to buy your book.

Pricing Your eBook

Roselyn Waiyaki
Project Manager

There are several misconceptions when it comes to pricing eBooks. By now, most (if not all) authors are acutely aware of the pros of having their book in digital format, especially given the popularity and success rate of titles like The Hunger Games and Fifty Shades of Grey in recent years.

What authors may struggle with is how to price their eBook. A good rule of thumb is to select a list price that’s half the price of the print book. For instance, if the list price on the physical book is $12.99, its eBook counterpart should not be more than $6.99. A common concern authors have is that a cheaper eBook price devalues their work, but this does not necessarily translate to the consumer. Although it may cost the author more to produce an eBook, once the initial cost is covered, they can theoretically sell millions of eBooks without incurring any additional cost.

Another important piece of advice for authors to keep in mind is which online bookstores they intend to sell their books on. For example, some retailers may have price restrictions dictating the range of prices for an eBook to fall within in order to receive maximum royalty payments. Anything lower or higher than that will result in them taking out a higher commission (which means less royalties in the author’s pocket).

There have also been studies that suggest that genre plays a significant role in eBook sales. It’s been said that generally fiction books sell best at lower prices, whereas nonfiction books sell better at slightly higher prices (although still in the $2.99 to $9.99 bracket for maximum royalties). This is because, for the most part, nonfiction books are deemed as problem solvers and add value to the reader’s life (think how-to books, diet books, etc.), while fiction books are generally considered to be more of an entertainment item.

Although these are not all the factors authors need to consider when pricing their eBook, they are a good starting point. At the end of it all, there’s no better driving force for sales than good content and great marketing.

Don’t miss our upcoming workshop “eBooks 101” November 22, 2014 at 11 a.m. EST

Follow the link for more information and sign up today! https://www.booklogix.com/November_Workshops.html

 

Working With an Editor on Your Children’s Book Part II

 

Kelly Nightingale
Senior Editor

“What are all these different kinds of editing?” The levels of editing go by many different names and can have a very different focus, especially with children’s books. Proofreading occurs after the book has been illustrated and laid out. Typically, an editor will edit by hand on a printed version and then send those to the designer or illustrator to make changes. Copyediting would occur before the illustration and design process and usually is completed in a Word file, which gives much more flexibility (for both the author and editor!). Line editing is more common and appropriate with chapter books, as they tend to need more help with transitions, looking at chapter breaks, etc. Developmental editing is less common for children’s books, as this recommendation typically means that an author (with the help of an editor) needs to revisit one or more of the “points to consider” (check these out in the first installment of “Working With an Editor on Your Children’s Book”) or that the organization of the book as a whole should be revisited. This can be much more time consuming, which leads to the next frequently asked question…

“How long does it take?” On average, the editorial process could take between three and four weeks for a children’s book, which includes an initial two weeks with an editor to go through a few times and make suggestions; however, a lot of the time frame will depend on the author’s revision schedule and the complexity of the book. For example, if the book has already been laid out, a proofread (even if it is just for a thirty-page picture book) may end up taking much longer if I have to wait to receive new files from the designer or if new issues are introduced when the other corrections are made.

“When should editing occur?” As much as I like to see the finished illustrations as I’m editing, it is generally easiest if it occurs before illustrations and layout are complete as this gives me the most flexibility with the author. Like I mentioned above with proofreading, the editorial process can occur after the design, this may just mean that the process as a whole takes longer (i.e., waiting on files from a designer). No matter what though, it is important to do a final proofread to make sure no errors were introduced, that no text got bumped to the wrong page, and to make sure the text and illustrations are printing well together.

 

What Makes a Great Audiobook Narrator?

Ian Douglas
Marketing Coordinator 

Mediocrity thrives as a seemingly inexorable facet of the human experience. Lines are blurred and often the truly great are left to wallow in the realms of obscurity. How, then, does one learn to separate the chaff from the wheat? The process can be long and arduous, but once you learn to recognize true quality narration, your experiences in the world of audible literature will undoubtedly be taken to new heights. The world of audiobook narration is no different from any other artistic medium, dominated by a select few who are not always the best equipped for the job. A great book can be ruined in the hands of a bad narrator or lifted to new heights by a truly great one. A great narrator will take the story places beyond what the average reader is capable of processing internally, weaving seamlessly in and out of different character voices in a natural rhythmic current of dialogue.

Specificity is paramount to achieving greatness in audiobook narration. A master British narrator trained in Shakespearian and classical theater may be perfect for British historical fiction but fail utterly in recreating the accent of a southerner from the United States. First-rate dialogue can be made unbearable by a narrator painfully attempting to recreate the accent of a person beyond their range. This, however, is preferable to the narrator who chooses to depict all characters in the same monotonous droning voice throughout the entire book. This is the most common offense. Failing to differentiate between characters’ voices as well as omitting emotion makes for a wholly unenjoyable audiobook experience and can effectively ruin the story.

A narrator who is well acquainted with the book has a better grasp on when changes in dialogue as well as spoken and internal monologue occur, thus creating smoother transitions. Finding the ideal speed of narration is important as well; some narrators have a tendency to rush, while others go painfully slow. Both are equally annoying and make the material presented difficult to grasp. Studio etiquette, as well as choosing the right room for recording, should command the same level of respect and attention to detail as selection of the narrator. Habits such as breathing heavily into the microphone or audible gulps of water can make an audiobook unlistenable. Some of these trespasses are inescapable even among the most skilled practitioners. Like a musician who has mastered technique and tone but lacks the ability to groove, it is difficult to find a narrator who excels in all of these areas even after a lifetime of dedication. When all of these factors are taken into account, a quality product can be achieved, often surpassing the capabilities of the text alone.

Working With an Editor on Your Children’s Book

Kelly Nightingale
Senior Editor 

One of the first questions an editor will consider when working on a children’s book is the target audience. The editor should discuss this with you before beginning the editorial process since your text may not reflect the intended target audience. For example, I’m working on a series right now about young girls and their horses that is intended for any young reader interested in horses. However, because of the author’s years of experience and background with horses, her first draft of the text used vocabulary that was much more technical. While the language was appropriate for readers who already knew a lot about the world of horseback riding, we worked together to alter the text in such a way that it would reach beyond this smaller audience to children who may like horses but may not be as familiar with the terminology.

Age group is part of the specifics of determining target audience and another area where I often see the author’s intent doesn’t always align with the text. The standard age groups for children’s book are 0–2, 3–5, 6–8, and 9–11, which extends from board books for babies through picture books, beginner chapter books, and then to more advanced middle grade chapter books. While children’s reading levels will vary from child to child and aren’t set in stone, it is important to gradually introduce longer texts and larger vocabulary words, making sure there is ample context to help young readers figure out the word or concept on their own if necessary.

Next, consistency is important through every aspect of the manuscript, from the target audience and age group, to content and style—even the illustrations! For example, if your story rhymes, it is important to have that meter and rhyme scheme used consistently. Artwork is a common place where we see inconsistencies sneak in. If your book is intended for an older audience, small spot illustrations would be more appropriate with more text per page, whereas younger children will be looking for less text, larger fonts, and more full-color illustrations. Something else an editor should consider with the illustrations is whether they actually match the text. For example, an author may describe a certain scene very specifically, but the illustrator may take a bit of creative license with it. An editor can work with you to not only point out these inconsistences but also to make adjustments for a seamless, polished final book. In some instances, the editor/author/illustrator collaboration is very important.

Check back next week for answers to frequently asked questions about editing for children’s books!

Should You Tell Your Story?

Daren Fowler
Editor

Readers gobble up the memoir genre; because the stories are (presumably) real and lived, they possess greater immediacy than fiction and more easily resonate with readers emotionally and intellectually. We love to see into the lives of others—either to experience some satisfying schadenfreude or the peace of knowing we are not alone, or even to see how far humanity is able/willing to go, whether in depravity or decency. And yet, the memoir is among the hardest genres to actually succeed at as an author. Not every story needs to be told, but, more importantly, the author may not always be the right person to tell it. Determining whether you should even write your story can be difficult. So here are a few tips to consider before writing (or even after you start) to make sure you have a manuscript worthy of your life and truly valuable to those who read it.

 

Write a memoir, not an autobiography.

In the growing market of autobiographical writing, there has been a confusion of genres. An autobiography tells the history of your life—it is expansive and all encompassing, and you only ever write one. When written by people who view their very existence to be relevant and “important,” autobiographies can easily become nebulous and rambling.

In contrast, a memoir focuses on a specific event or story in your life—it is contained and can allow for a more experimental structure. With less story to tell, memoirs allow you to dig more deeply into details and deal more readily with why the book and story matter. Plus, you can write hundreds of memoirs. Just look at David Sedaris and his endless collections of life stories.

Remember: Memoirs do not have to be heavy.

It is okay to have a “normal” life or to write on a common event, just make sure you have a reason for telling your story. It is okay to be funny or laugh at your past. Not every memoir needs to be about the terrifying or painful or unique. A harrowing and fascinating story can fail as a book because the author does not know how to tell the story or fails to say anything about it beyond its occurrence.

Have something to say about the story.

As long as you have something to say, you will have a story worth telling (heavy or not). However, that also means you have to bring more than affecting moments or humorous anecdotes; your memoir has to say something larger than the individual story—it has to be about something. Before writing, ask yourself, “Why tell my story? What value does it bring to my reader?” If you cannot answer those questions with something bigger than “It is an interesting story,” you may not be ready to write this particular story. Having a unique life story does not make it worth telling. What matters in a memoir (or any book really) is that the story is told with a unique perspective and that the author has an underlying message or lesson that transcends the simple events of the story.

Be critical.

Never just send words into the ether and hope the reader will get what you are trying to say. If memoirs should always be about something bigger, and they should, then that requires you to look critically at your life. Examine your life and how you remember it, then ask, “Why do I remember it that way? What did that moment do to me? Why have I avoided confronting that person for what they did? Why have I denied what I did?” By asking these questions and others, you will push your story from the personal toward the universal. How something occurred is always less important than the examination of why it happened and what effect it had.

Be utterly honest.

Before ever deciding to write about your life, you have to be willing to tell it all. If you want to write about your childhood but do not want to possibly hurt your family’s feelings, then your childhood is not something you are ready to write on. If you are still friends with an old love and want to avoid saying anything about the relationship, then a memoir might not be your mode of expression for that particular story. To write about your life means sharing it openly, honestly, and directly. Your reader will sniff out any hedging or less-than-honest storytelling. As soon as your readers suspect that they might not be getting the truth, you have lost them and their trust. So either be willing to open up your life or find a story you are ready to tell fully.

 

Creating synergy with your marketing team

Ian Douglas
Marketing Coordinator 

Synergy—what is it? Why is it important? Why are people still using that word? The discerning business man or woman may recognize the term as being associated with large-scale corporate mergers and acquisitions, but synergy’s relevance encompasses a much broader spectrum of business applications.

Merriam-Webster’s defines synergy as “a mutually advantageous conjunction or compatibility of distinct business participants or elements (as resources or efforts).” It derives from the Greek synergos for “working together.”

It is the responsibility of the marketer to perform advance reconnaissance on the client and subject matter before the first meeting takes place. However, it is also the responsibility of the client to inform their marketing team of as many things as possible, ensuring that both parties have all the information they need to form an efficient and productive relationship.

Synergizing with your marketing team means helping them help you: laying down a clear groundwork of any goals or guidelines you might have, remaining in constant contact, continuously fine-tuning your efforts, and achieving the best possible results.

If you are planning a social media or targeted marketing campaign, be sure to discuss your ideology, potential client base, and value propositions before the campaign gets under way to ensure that your marketing team doesn’t go off in a direction that doesn’t suit your ideals.

The incentives for sharing knowledge are numerous, but one must be careful not to unbalance the scale by weighing in too heavily. As with most things, there are two sides to the synergy coin; too much input and contact from a client can lead to negative synergy, resulting in a loss of productivity and quality for your marketing campaign.

If there is a negative synergy, the whole is less than the sum of its parts. In other words, sometimes marketers can actually accomplish more by working alone rather than working together. Rather than assuming that synergy exists, can be achieved, and will be beneficial, marketers and their clients need to take a more balanced view. Counter synergy’s natural allure by subjecting the information available to rigorous evaluation before staying a certain course. As with all things in the marketing world, continuous measurements and adjustments must be made for maximum benefit.

Measurement, balance, and evolution are the keys to marketing synergy. Trim your sails to the wind and set a course for success.

 

A new perspective on editing

Dawn Wade
Proofreader

Writing is hard work. Having the discipline to sit down, day after day, and write a story that potentially few people may ever read takes a particular type of person. These people (we’ll call them writers) feel an indestructible compulsion to express themselves, and they are willing to do whatever it takes to get their words down on paper. Writers tend to sacrifice a lot: time with loved ones, social lives, vacations, financial gain, etc. After all, real life doesn’t just stand idly by when inspiration strikes. No, children still have to be picked up from school and bills still must be paid regardless of how amazing it is to finally figure out what should happen in chapter seven.

It only makes sense that after the exertion of getting the story precisely right, some writers bristle at the idea of some Johnny-come-lately editor telling them to change anything about their story. For writers, after the hard-won victory of reaching the finish line, the editing process can sometimes seem like the race has been extended with some hurdles thrown in for good measure. However, good editors won’t just stand at the sidelines and watch their writers struggle unaided. Good editors will run alongside their writers, offering encouragement and helpful suggestions that, if heeded, will improve results. Here are a few things for writers (and editors) to remember about the editing process:

• It’s a collaboration. Editors should respect the effort that writers have exerted in completing their manuscripts. Writers should respect the time and thought that editors have put into reading those manuscripts and offering comments and corrections.
• It’s not personal. Editors are not sadistic pedants who delight in humiliating writers over misplaced commas or misspelled words. Editors do not secretly think that writers who make errors are stupid. Their comments, suggestions, and corrections are directed at the manuscript. The manuscript has no ego, although editors and writers do.
• It’s beneficial. As frustrating as it can be, the editing process benefits writers by offering them a preview of their readers’ reactions. An editor straddles the divide between writers and their audiences. Editors possess the valuable perspective of understanding a writer’s intent (because they work directly with the writer) and understanding a reader’s interpretation of what was written (because they are an audience).
• It’s a conversation. An editor is not a god who wields an infallible red pen. Further, editors do not dictate to writers—they ask questions and make suggestions. The editing process is not something inflicted upon the writer. Writers should engage their editors and participate in the discussion. Editors should be able to explain why their suggestions should be implemented.

With the right perspective, writers can embrace the editing process as the gentle helping hand that it actually is.