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Posts Tagged ‘publishing’

If you look inside the front matter of any published book you will find an ISBN number. If you don’t know, ISBN stands for International Standard Book Number.

 

The ISBN has nothing to do with copyrights. It simply is a catalogue number. If you are looking for a particular book, you can search it by its ISBN (catalogue) number.

 

An ISSN – International Standard Serial Number is the same thing as the ISBN, but is for periodical publications (ongoing series), such as magazines or a book series. You didn’t know you needed that for your book series? That’s okay. Not all books start with the intent of making them a series. With the wonders of technology, some sites will still link your series as belonging together. Just fill out that “series” box.

 

Now, if you’ve self-published with Amazon KDP, you might find they assigned you an ASIN instead of an ISBN. Oh, the horror. What have they done?

 

The ASIN (Amazon standard Identification Number) is the same thing as an ISBN, a catalogue number, only it is specific to Amazon. So, it only shows up in Amazon’s market. If you are publishing both a print and eBook at the same time, they will likely give the eBook an ASIN that is the same as the ISBN. Still, only the print book version with the ISBN will show up in ISBN searches outside of Amazon’s marketplace.

 

The EAN (European Article Number) should not be confused with an ISBN, ISSN, or ISIN. The EAN is a barcode. Think of it as the same thing as the others, but for products that are not books.

 

 

 

Breaking Down An ISBN – International Standard Book Number

The ISBN is broken down into parts.

 

  • EAN – Bookland country code. Apparently books live in a world of their own separate from ours called “Bookland”.  In the land of books, this identifies what country the book comes from.  Luckily for us non-book beings, the numbers also coincide with the countries of our own world.

 

  • Group – identifies the language the book is written in

 

  • Publisher – identifies the publisher of the book (aka the person or business who filed the ISBN number for the book)

 

* oddly enough, it seems that when a publisher exhausts its block of ISBNs, instead of receiving an additional block with the same publisher identifying number, they are given a new identifying number for the new block of ISBNs.

 

  • Title – identifies the book title

 

  • Check Digit – this is akin to a spell check for the people assigning ISBNs. If this number is not what they are looking for, then an error was made.

 

 

If you are being published with a publisher, they will look after your ISBN needs. However, if you are self-publishing, you need to do this yourself. And, you will probably need multiple ISBNs for each book.

 

 

Photo by Annie Spratt on Unsplash

Why do you need multiple ISBNs for one book?

Because each format is a separate catalogue item. Every place you upload your book to sell, every print on demand printer, every eBook distribution, is a separate catalogue listing. Every ‘version’, i.e. trim size, paperback vs. hardcover vs. eBook, vs. audio book, is a separate catalogue listing. Every change that affects the description and quality of the product, like trim size or doing revisions to the book beyond fixing a few typos, creates a new catalogue item.

 

Think of it this way, each of these is a different catalogue item:

  • Print book on Amazon KDP
  • eBook on Amazon Kindle
  • Print book on Lulu
  • McNally Robinson pod printer
  • IngramSpark/Lightning Source
  • Kobo books

 

Also, each of these is a different format; therefore each is also a different catalogue item:

  • Paperback book
  • Hard cover book
  • Audio book
  • eBook mobi
  • eBook epub
  • Other eBook formats
  • Large print book
  • You uploaded your book in a new trim size
  • You uploaded a new edition (2nd edition, 3rd, etc)

 

 

 

Photo by Kelly Sikkema on Unsplash

Getting an ISBN is not difficult. And, depending where you live, you might have to pay for it.

 

If you live in the United States, you have to buy your ISBN. ISBN’s are sold by a commercial company.  (They are cheaper in bulk!) After getting your ISBN, it is up to you to have it registered with RR Bowker, the US database for the ISBN agency.  www.bowkerlink.com

 

One of the things many large US based self-publishing companies like Draft 2 Digital, Smashwords, and Amazon KDP does to encourage authors to publish with them is they buy up mass volumes of bulk ISBNs and provide them free to authors and publishers publishing with them. Of course, that only applies to the book listed on their service. You still need ISBNs for anywhere else you upload your book to.

 

Photo by Ryan on Unsplash

The wonderful thing about being in Canada is that FREE ISBNs is one of the little ways the Canadian government supports the arts.

 

To get your ISBN visit the Library and Archives Canada website and create an ISBN Canada Account.

Once you have your ISBN Canada Account you simply login to request and update ISBNs. There is no cost for this service.

 

Once you have your ISBN and have published your book, it is recommended you submit copies of your books to the Legal deposit program with Library and Archives Canada (read the article on that for more information).

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

Read Full Post »

Photo by Clay Banks on Unsplash

Registration Deadline: 1 May 2020

Sign up for the program or register new titles and editions. Registration runs Feb 15th to May 1st.

 

The Public Lending Right (PLR) Program sends payments annually to creators whose works are in Canada’s public libraries. Check out their website for more information on eligibility, payments, and to register: https://publiclendingright.ca/

 

 

The Dry on the PLR:

The PLR (Public Lending Right) Commission was established under the Canada Council for the Arts (CCA) in 1986 to oversee the PLR program.

 

The PLR Commission is an elected body of writers, translators, librarians and publishers working together with non-voting representatives from the Canada Council for the Arts, Department of Canadian Heritage, Bibliothèque et Archives nationales du Québec, and Library and Archives Canada. (Read the article on ISBNs to learn more about what Library and Archives Canada does).

 

‘Public Lending Right’ is your right as an author to be paid for free public use of your works in libraries. The basis of payment varies, but more than 30 countries around the world have PLR programs. In Canada, an annual survey is done one titles in public library catalogues. Payments to authors are based on the presence of their title(s) in the survey results.

 

 

Photo by Chris Spiegl on Unsplash

The Juicy News on the PLR:

As a writer, you worked hard on what you’ve had published. It’s only right to want fair compensation for that work. Libraries that stock your writing, whether it is in print or eBook, are lending it out free to multiple users who don’t need to buy it to read it. That translates to lost sales for you in the name of providing free public access to hundreds of potential readers.

 

 

This is what is behind the US libraries’ boycott of Macmillan Publisher’s new eBook releases. Basically, because more library lending equals more readers who do not have to buy the book to read it, Macmillan sought to boost initial sales of new eBook releases by limiting the number of copies libraries can buy and lend out in the first 8 weeks after a new eBook is released. Now that was a mouthful. Macmillan has been trolled and vilified for what boils down to an economic business decision. The nerve of them wanting to make sales revenue on their investment to the detriment of faster access to that new release to all those readers not paying for it.

 

I get both sides of that argument. If I want it, if I’m excited about it, I want it now. I don’t want to wait 8 weeks to get on a waiting list to get it. And if I don’t have to pay for it, I win. Heck, most of my adult life I couldn’t afford to buy books new. I still can’t afford to fill my reading needs with the prices publishers charge. I live on books I can read free (leaving a review is an excellent way to give back to the author for that!), reduced price books, and used books. At the same time, taking a risk on that book, on that author, and publishing a book is a substantial investment for publishers. Just because it’s an eBook does not make their costs inconsequential. And it is a business. They are not producing books out of the kindness of their hearts. They have overhead and staff wages to pay. And their investors want to earn money on their investment. And, that’s not even including compensation for the author’s time. Okay, let’s get back on topic…

 

 

This is where the Public Lending Right (PLR) Program comes in.

Photo by Jaredd Craig on Unsplash

You write the book. Whatever means you take, it gets published. Libraries buy it, or maybe you donate it to a library. All those people borrowing it from the library, reading it without paying for it, are sales that won’t happen. They probably wouldn’t have bought it anyway, but they are getting to enjoy your book and you get no compensation for that.

 

Wrong. The PLR is another small way our government supports the arts. You sign up, and if your book(s) comes back in their annual library survey, you get paid compensation for the potential loss of sales from those library books.

 

Registering is not a guarantee. And they need to verify your book(s) eligibility. Libraries need to actually stock it and then it has to be picked up in the annual survey. Then you get paid.

 

It might not be enough to cover all potential lost sales earnings, but it’s something. And in today’s book market, there are no guarantees on how those sales will go.

 

 

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

Read Full Post »

Photo by Annie Spratt on Unsplash

What do you do when you just don’t know what to write?

 

It happens to all of us. Okay, maybe not to Stephen King (but it probably has at some point even if he won’t admit it), however it happens to the rest of us. You sit down to write and . . . your mind is blank. That’s where I came up with the idea for this subject. I couldn’t think of anything, so I decided to write about that.

 

But if you really wanted to write, you would just sit down and write. Right? If only it were that simple. The reasons for the blank mind syndrome are as varied as we writers trying to write are.

 

 

Perhaps the biggest culprit is self-doubt. Who hasn’t faced off to that one at some point? You might not even recognize this is the problem because self-doubt can be a sneaky thing. It is the anti-muse of a thousand wicked faces. You don’t know if you can do it. You question how to start, what to write. Will it be garbage? Will anyone like it or are you wasting your time? And those are only a few easily recognized symptoms of self-doubt.

 

No one is going to want to read it. No one will like it. Will even you like it? You doubt you’ll ever be published anyway, or find that ever elusive agent you need to get your work considered by the big publishing houses. You can give yourself any of thousands of excuses that all boil down to one simple thing . . . self-doubt.

 

 

Photo by Jon Tyson on Unsplash

Time is not on your side. We all get that. Life is busy. How many things are you juggling in your daily life? Full time or part time work; maybe both with two jobs. School, maybe both school and working; homework, studying, meetings, and volunteering. Family, extended family, friends, and pets. Household and life chores, running errands, and meeting your own basic needs.

 

Before you know it day after day has been sucked away and you haven’t had a chance to even think about writing. And, we all still need a little downtime to catch that favorite show, read a book, and just have a little bit of fun and time to unwind from the hectic everyday.

 

In the constant whirlwind of life it’s too often the just for you things like writing that get pushed back and left behind.

 

 

The story has stumped you. Fiction or nonfiction, prose, essay, short or long, whatever it is, sometimes it just stops us dead and can’t move forward. You can stare blankly at it all you want, but that inspiration just won’t come. Maybe you feel something is off, but cannot pinpoint what.

 

I always find that for me if it feels like something is off, then it turns out something is off. Maybe I need to delete the entire beginning, or it might work better moved much later in the story. Something somewhere is off track so the pieces just aren’t fitting together right like trying to force in puzzle pieces that don’t go there. Scenes need to be moved or removed, details expanded on, and bridge scenes created to fill in gaps in the story.

 

Twice I have taken the drastic step of actually tearing up and deleting an entire story, scrapping it completely because it was going nowhere. They still haunt me.

 

 

Photo by Priscilla Du Preez on Unsplash

You’ve been away from writing for too long. It can be hard to get back into it after not writing for a while. You’ve been hit by the lack of time, and now it’s compounded with self-doubt. Or maybe life just got in the way and you sidelined writing. Whatever the reason you took an extended break, you feel like you haven’t written in so long that you forgot how.

 

Or maybe writing has been that dream you wanted to do, but just have not managed to actually start yet. Does that mean you are not a writer? No. In the dry technical term of the definition, you do actually have to write something to have written. But self identity is a powerful thing and is what drives you to be a writer. Think of the age old saga of the chicken and egg. The chicken must lay the egg to birth the chicken, but the chicken came from an egg laid by a chicken, so. . . Are you a writer because you felt like a writer and were driven to write? Or because you wrote, which you would not have done had you not been driven to it?

 

 

Regardless if you are having an extended dry spell, have yet to dip your toes into your dream of writing, or are facing off against the inability to make the words flow, the result is the same . . . you are not writing. So how do you get back into it? Or start in the first place? Let’s explore some tips.

Photo by Sven Brandsma on Unsplash

Getting back into writing can be like riding a bike. You never really forget how, but you can feel pretty rusty at it and need to get back that sense of balance and relearn the comfort zone. That takes time and practice.

 

It doesn’t have to be good. Not everyone can write a carefully thought out perfectly planned and executed word by word draft of perfection. If they did, odds are pretty good they actually wrote and rewrote it over and over in their head before committing it to the proverbial paper. The magic of editing fixes all . . . later.

 

 

There is power in small. This is one of my favorite project tools. It’s the same trick I used when overdue schoolwork snowballed out of control for my kid in grade school, or when one of my kids is overwhelmed by the size of a large project. I also use it when I just can’t think what to write when trying to work on a novel, although it probably works better if you actually outline first. I write mostly long fiction. The whole project can be daunting.

 

It is also an effective tool to combat writer’s block in all its forms. Where to start? Start small.

 

Pick a scene. If you have to number scenes and draw a number from a hat, then do it. If it’s something more epic those numbered scenes can be a mix of scenes, locations, characters, peoples or creatures; or anything else. Whatever you picked you must write. Block out everything else to do with the story, write it and own it. Put everything you have into it and make it the best little piece of writing you can. If it doesn’t fit, you can fix that later with editing. You know you’ll be editing and revising it anyway.

Photo by Soragrit Wongsa on Unsplash

 

You don’t have to write chronologically. So what if you can’t think of what to write in the next scene? Is it better to not write and mope over the next scene or keep writing? If you can write something, anything, then do it. Maybe you are on chapter two and the only inspiration is chapter 32. Go write that chapter 32 scene. The rest will fall into place in its time.

 

 

My favorite rule in writing is ‘break all the rules’. There is an overabundance of so-called ‘writing rules’. From the ‘proper’ writing rules of formal writing handed down by the generations before our time to new rules being invented on the fly, rules are everywhere. The one thing they all have in common is that in writing no rule fits every single situation.

 

Sometimes it’s our own perception of what the rules we are supposed to follow are that holds us back from writing. That ingrained fear of breaking a rule. What would our grade five English Language Arts teacher think of us? What would our mothers think? Oh, the horror.

 

Be a rebel. Get reckless. Break the rules. You are not writing a business letter to the CEO of your company or formal fifth grade essay on a book you don’t understand. You are creating literature art. Feel it and let the rules go. Nobody even has to know or read it. It can be our dark little secret. You decide when you are ready to let someone read it.

 

 

Schedule time to write. Ten minutes here, fifteen there, or multi-task it during waiting time. Everything else you do daily has at least a loosely planned schedule. You get up at a certain time to go to work or school. Meals are eaten around a certain time. Maybe you don’t really have anything to do during a spare or coffee or lunch break. Do it while you are waiting for the bus or during the bus ride. When I’m waiting for an hour during my kid’s boxing class, I’m sitting there writing or editing. Maybe you decide lunch on Tuesdays will be your writing block. Once you schedule it, stick to it. It becomes easier when it is habit.

 

 

Photo by Aaron Burden on Unsplash

Use writing prompts. They are useful when you want to write but don’t have a specific project. A prompt is a tool to get the writing juices flowing. There are scores of writing prompt tools online; everything from random title generators to first lines to subjects or pictures to write about.

 

The point of a writing prompt is to make you write something, anything, about something random. If you can’t get going, start by describing it in great detail, down to every last scuff, scratch, and imagined imperfections that may be hidden beneath the surface. How it must feel in the hand, its heft and balance. How it smells. How it makes you feel to look at it. Imagine who might have conspired to create such a thing; what might have motivated them. Who might have labored to build it? Who would buy it? For themselves or someone else? For pure purposes or mischief? How did it come to be right there in that spot, in that condition, perhaps abandoned or lost, or intentional?

 

 

Edit your work. So what if you haven’t finished writing it? Who cares how long it has ‘collected dust’? Just pick it up and start working through editing it. You have to anyway. Research any little thing. This gets your head back in the game and on the story or poem, or whatever you are writing. This trick doesn’t always work for me the first time I sit down to edit. It might be the third or fourth time, but inevitably the new story ideas start to flow.

 

 

Write something else. If you really are stuck, move on. Work on writing something else and keep that writing momentum going. Your nagging sub-conscious will probably be worrying at that other piece in the background. Go back and revisit the work you are stuck on. I have multiple WIPs going all the time.

 

 

L. V. Gaudet writing hat

Create a writing trigger.  You are entering dangerous territory. Really, you are. Call it a writing trigger, focal object, behavior modifier, your process or routine; or your ‘writing hat’. Anything that works goes, within reason. Let’s keep it legal. The point is finding something that flips that writing switch on, naturally or trained. Like a bedtime routine for toddlers, it switches your brain into writing mode.

 

Maybe it’s going through certain steps to settle in to write, using a particular object, or a certain place you write. Learning to flip that switch will turn on the writer’s brain and its creative juices on command.

 

The problem with this is dependency on an object, routine, or place. Whatever you trained yourself on, if you make yourself too reliant on it, you risk being unable to write without it. Like George Stark’s Berol Black Beauty pencil (Stephen King’s ‘The Dark Half’). Thad Beaumont was an anxious writer, so he invented the pen name George Stark and the writing switch (and Stark’s author ‘thing’ to make him famous), the Berol Black Beauty pencil. Without that very specific pencil, he could not be Stark and could not write like Stark. Unfortunately, because it is a Stephen King story, the fictional Stark became real and sought to terrorize and murder his creator, Thad. Hopefully your writing trigger doesn’t do the same. Fortunately, the Berol Black Beauty pencil does not exist today.

 

 

Get an accountability buddy. Also called a ‘nag’. I’m my own best and worst nag. It could be as simple as marking a deadline on a calendar or making a phone alert; it could be posting promises on your social media, or someone who will regularly ask you about your writing progress. The point is having that niggling in your head droning on at you, “Write . . . write . . . write.” How embarrassing to always have to say, “yeah, sorry. I didn’t write again this week.”

 

Photo by hannah grace on Unsplash

Just write. There is one tried and tested way to get out of that blank mind no writing funk. You have to find a way to write. It doesn’t matter how or when. It doesn’t have to be good. Just. Write.

 

Force yourself to sit down and write something. Anything. The more you make yourself write, the easier it will come. By making yourself write you can spur ideas. I started with *(blank)*, literally. I banged my head on the desk a few times (figuratively), tried to force an idea, and finally settled on, “Fine, I’ll right about not being able to write anything.”

 

I started writing that and as I did, ideas for other things came to me. Reasons for the mind block beget ideas. Thinking of how to break the cycle of being stuck beget more ideas. And now I have a list of other possible future topics. And whatever you are writing, when that other inspiration strikes note it down for later.

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

Read Full Post »

What is Lulu?

Lulu Press, Inc. (Lulu.com) is a U.S. based print on demand printer and book distributor for electronic books, print books, and calendars. It is used by self-published authors and small presses.

 

Is it a ‘vanity press’? No. Lulu press, Inc. is a legitimate provider of services to small presses and self-published authors.

 

Is it cost effective to publish with Lulu? That depends. Their pricing model is based on the size of the book and volume of the order. Like other PODs, the printing cost per book is calculated on a minimum base rate plus a cost per page. So, with equal trim sizes, a 325 page book will cost more to print than a 300 page book. As the author/publisher, you can order copies for yourself to slog around stores and book events with to sell face-to-face. Like Amazon KDP, they charge a reduced publisher rate to you. You are not paying the retail rate you set for copies of your own book. Lulu does have bulk order discounts. They are more expensive than Amazon KDP for your printing cost per book if you are ordering smaller  print runs, but the good news is a search of those fabulous online click-bait coupon sites will probably produce a coupon code to reduce the cost. Comparing costs of Amazon KDP to Lulu, I only order books through Lulu if I have a coupon code. Otherwise, with shipping, the higher cost would eat up most of my small profit margin on face-to-face sales. (I use Couponfollow.com).

 

What does it cost to upload my book to Lulu?  Nothing. Like other POD and distribution companies, they do have service packages you can buy if you want someone to do the work for you. I’ve seen mixed reviews on these. But if you do the work yourself, there is no cost to upload your books to Lulu.

 

But I want to buy Canadian and/or publish Canadian. Lulu is a U.S. company. However, being in Canada you would be going through the Lulu Canada store. Those books are printed in a facility in Ontario, Canada.

 

Does Lulu distribute the books to brick and mortar stores? Yes and no. Your book (eBook or POD print) must meet all of the distribution requirements in order to be available for sale beyond the Lulu online marketplace. This includes being one of the eligible trim sizes. If it’s available only on the Lulu marketplace then people can buy your book only through the Lulu site.

 

Why is my Lulu book only available on Amazon and Barnes & Noble, and not in any brick and mortar book stores? Because, under Lulu’s globalREACH program, you met the distribution requirements for those two online stores. Maybe you did not meet all the requirements for the global distribution program, leaving you with limited distribution. Also, globalREACH creates a listing with the Ingram Book Company, making it available to book stores to order it. But then it’s up to the book stores to actually order it. There is no guarantee they will and Ingram’s catalog is massive.

 

Photo by Webaroo.com.au on Unsplash

Photo by Webaroo.com.au on Unsplash

Do I need an ISBN to publish with Lulu? Yes. Lucky for us, ISBNs are free in Canada and easy to get. You also need a different ISBN for each copy of your book. I.e.) you need a different ISBN for the book published through Lulu from the book uploaded and published through Amazon KDP (Amazon will provide ISBNs, Lulu does not).

 

Can I just upload my Amazon KDP book and cover files to Lulu?  No. While your trim size and page count don’t change, the dimensions of your book spine will. You will need to redo the cover. This is because Lulu uses a lighter weight gauge of paper (thinner paper), so trim and page count being the same, your book will be thinner.

 

How is the quality of Lulu print books?  I’ve heard mixed reviews. As with any POD printer, there can be variations from batch to batch. After all, they are completely resetting the printer for every print batch run for every customer. Some swear by their quality. Some have reported issues with the spine glue in the heat. I found covers that are lighter with more colors work better, but mostly black glossy covers did not hold up to minimal handling. The cover finish on black glossy covers rubbed off, marked easily, and chipped just transporting them carefully packed to and from book events, leaving the books unsellable. Amazon KDP books stand up better to transporting them to sales with the dark glossy covers.

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Photo by Zulfa Nazer on Unsplash

Photo by Zulfa Nazer on Unsplash

I can’t count how many times over the years I’ve had to *fix* the formatting on a document that made me cringe, usually a work manual, formatted by a predecessor.

 

When you are formatting a book manuscript, simplicity and consistency are your best friends. Especially if you will be still writing and editing it. I recommend starting with the use of proper formatting. It will save you a lot of time later. And, if you are paying someone to format your completed manuscript, it will save them a lot of time and you a lot of money. The more time it takes them to format it, the more they will charge you. If you already started or finished the manuscript, you can still fix it.

 

First, work with only one manuscript. Don’t have one for each eBook and print version. You can do easy fixes to format for them for each later and do not want to have to do every edit fix on every manuscript copy.

 

Photo by Kyle Glenn on Unsplash

Photo by Kyle Glenn on Unsplash

Let’s start with a few basic ‘Do Not’s. All instructions are based on using Microsoft Word because that’s what I know how to use.

 

Spaces instead of tabs. Do you hit the space bar five times instead of using a tab to indent? Don’t do this. If you are doing this, I want you to go into your ‘Home’ tab at the top left of your Word document. Click ‘Replace’ in the top right. In the ‘Find what’ box type your five spaces. The ‘Replace With’ box should be empty. Click the ‘Replace All’ button. If it asks you if you are sure you want to replace all, yes you are sure.

 

Tab key to indent sentences. Don’t do this either. Especially if you plan to later format this manuscript for eBook.  Most eBook formatting conversions do not like tabs and it could look ugly in the book on the eReader. Do the same thing you did to remove all those unwanted spaces, only with your cursor in the ‘Find what’ box (after deleting those spaces), click ‘More’ and then ‘Special’. Select ‘Tab Character’. ‘Find what’ will fill in this: ^t. Leave ‘Replace with’ blank and click ‘Replace All’. If you used double or triple tabs to move things, you will need to run this replace all multiple times.

 

Extra line spaces at the top of the page. Maybe you want your chapter header to not cling to the top of the page. Print books often have them a few lines down. If you added extra ‘Return’ (Enter) blank lines at the top of your page to push your text down, this will be a problem converting to eBook later. Electronic book readers hate this. It looks weird and you might end up with random blank pages in the eBook. Go ahead and remove all of those the same way you did the tabs, using the replace all special multiple ‘Return’ characters with nothing. NOTE: don’t do this with only a single paragraph character in the ‘Find what’ box. It will remove all your paragraph returns for every paragraph. The ‘Undo’ button is magical if you accidentally do this.

 

Hyphenating non-hyphenated words. You wanted it to look professional with the too long words breaking at the right margin and carrying down to the next line with a hyphenation word break. So, you manually hit the hyphen and enter throughout your manuscript. You don’t want this. This is the thing that dwells in a manuscript formatter’s darkest nightmares. It’s old school from the days of manual typewriters before computers were a thing. Today’s word processors adjust spacing to accommodate the text without this, and, forcing end of line hyphenations is messy and not something you want to have to go line by line fixing throughout and entire manuscript. Regardless of manuscript perfection, if your document is not the right trim size for the published book, this will have to be fixed through the entire text.

 

Hard returns. It’s the difference of hitting the Return (Enter) key and holding down Shift button while hitting Return. They can cause issues with formatting, particularly if you are using justification and in some eBook conversions. Behind the formatting they look like this:

Return (Enter): ¶

Shift+Return: 8

 

Photo by Drahomír Posteby-Mach on Unsplash

Photo by Drahomír Posteby-Mach on Unsplash

 

 

Now, what should you do?

 

Photo by Jon Tyson on Unsplash

Photo by Jon Tyson on Unsplash

Formatting With Style. In other words, using Microsoft Word’s ‘Styles’. This is a cleaner and more reliable way of formatting your manuscript, and making global format changes to it.

 

If you are writing multiple books, inevitably you will have to reformat an entire book. Every chapter, paragraph, and line. Maybe you need to change the font type or size, or the size of the indented paragraphs. What you want is the ability to do a mass manuscript reformat with minimal effort, which means minimal errors. Ideally, you will be doing this anyway to convert your print book manuscript to eBook format – after the print book manuscript is perfected in writing, editing, proofing, and formatting, and is ready to publish. For this, you want to use Word’s ‘Styles’ to essentially hard code the typeset styles into your manuscript.

 

You are also less likely to run into strange formatting occurrences if you format using Styles instead of hitting the formatting buttons at the top of the ‘Home’ tab group.

 

Using Word’s ‘Styles’, you will want to set up a few basic styles for each section of your manuscript: interior chapter first paragraph justified, and rest of the chapter text first line indent; chapter headers, front matter centered, and title page.

 

I’ll list some basic formatting below. First, take a look inside some books produced by the big publishers at how they do it. In particular, look at books in the same genre as yours.

 

 

Chapter formatting. The whole chapter can be formatted in two blocks: the first paragraph, and the rest.

 

To create a new ‘Style’, select your ‘Home’ tab in the top left of your Word document. Then click the little downward angled arrow in the ‘Styles’. Or hold down Alt + Ctrl + Shift + S buttons.

 

Select the ‘A+’ (new style) button. Set your font type, size, justification, and other settings here. You want it justified and to use a font type and size common with printed books of your genre. Since you are initially formatting for a printed book you want to choose a very dark black font color, not automatic. (Note: you need automatic for eBook). If ‘automatically update’ is checked off, all revisions to one paragraph formatted to this style will automatically change all paragraphs in the same style in the manuscript.

 

Be sure to name your new styles something you will remember what they are for, like ‘Chapter First Paragraph’. You will need to make a few new styles.

 

Select ‘Format’, then ‘Paragraph’, and ‘Indents and Spacing’.

 

 

The first paragraph is generally justified across the page with neat margins and no first line indent, but not always, because there are no hard written rules in publishing. There is often a slightly wider line space after the end of the first paragraph to set it apart from the rest of the chapter. Again, there is no hard rule that it has to be this way. I use these settings:

 

Alignment: Justified

Outline level: body

Indentation – Left: 0”

Indentation – Right: 0”

Special: None      By: (blank)

Spacing – Before: 0 pt

Spacing – After: 8 pt

Sine spacing: Single

 

 

The rest of the chapter paragraphs will take a minor tweak to the settings when you create a new style for them. Here, I removed the space after the paragraphs. Leaving it would spread your manuscript over too many pages. I also added an automatic first line indent. This is what I changed:

 

Special: First Line      By: 0.2”

Spacing – After: 0 pt

 

 

The chapter header style can be set up with a larger font size, centered, and changing the spacing before and after. Adjust the spacing before and after to set the chapter header where you want it. Do not use added blank lines in the document (That can mess up your eBook formatting later). I use these settings:

 

Alignment: Centered

Outline level: Level 2 *

* if you are using parts as well as chapters, each ‘Part’ would be level 1 and the chapters level 2

Indentation – Left: 0”

Indentation – Right: 0”

Special: None      By: (blank)

Spacing – Before: 42 pt

Spacing – After: 40 pt

Sine spacing: Single

* Outline level is an extremely useful Word tool. Level 1 is the top level, then 2, 3, etc; and each number layers the levels down. It can help you navigate to a particular chapter (select ‘View’ at the top and check off ‘Navigation Pane’ to open a click-and-go table of contents on the side). It can aid creating an auto-created and updated table of contents in your front matter. And, you can move and rearrange entire sections (parts or chapters) by clicking and dragging them in the navigation pane on the left.

 

 

Front and back matter. The fewer styles used, the cleaner your manuscript looks, but some front matter is typically centered and some isn’t. Your title page, for example, may have a larger font than anywhere else, be centered, and spaced lower on the page, so will probably have its own ‘Style’. The title page is also probably the only place you might want to use a different font type. Beyond this, I use the first chapter paragraph justified style for justified text like the copyright ‘do not copy this’ blurb. I have a similar style set with the text centered instead of justified for the rest of the copyright information, and if I want a centered spacer (***) between scenes in a chapter. The about author and other back matter blurbs, I treat like another chapter.

 

 

Headers and footers should be used for the page numbers at the bottom and the alternating book title and author name at the top. Use the same font as the book text. Insert a section break before chapter/part 1 to separate the front matter from the rest to not have the headers and footers appear in the front matter. When you create your headers and footers in page one of the first chapter check off ‘different from previous section’, and check off ‘different odd/even pages’ in the header to have your name on one side and the book title on the other.

 

 

Editing Styles is not hard. Open the Styles panel. Select the paragraph text you want to edit. In the Styles box it should highlight the selected style. Hover over the Paragraph mark next to it and it becomes a downward triangle. Click it. Let’s say I want to change all ‘Normal’ text to my ‘Paragraph text’ style. I click ‘Select all’ under the normal style and wait for it to select all. It can take a while if there is a lot. Then click the ‘Paragraph text’ style. It should change all selected text to that style.

 

The ‘Modify’ button opens up the panel to modify the style if you want to tweak your style. If ‘Automatically update’ is checked off, it will automatically change all text in the document with that text style.

 

 

Photo by Aliis Sinisalu on Unsplash

Photo by Aliis Sinisalu on Unsplash

 

Formatting Styles for eBooks later will be simple if you followed these styles consistently. First, re-save the document to be safe. Remove all headers and footers. They don’t work in eBooks. Change your entire document page size to 8.5” x 11” (letter) with 1 inch margins all around.

 

 

 

Change all styles to:

– Remove the before and after paragraph spaces. At least minimize it to no more than 12 pt. in chapter headers and the title page.

– All fonts should be Times New Roman 12 point. You can get away with the title page and chapter headers being a slightly larger font size.

– All font color MUST be ‘Automatic’.

 

The other formatting fixes to convert to eBook are a little more work. They are finicky creatures, those eBook readers.

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Photo by Maddi Bazzocco on Unsplash

Photo by Maddi Bazzocco on Unsplash

It’s the start of the new calendar year. Are you going into it wondering if you are ready to publish? Convinced you are definitely ready? On the fence?

 

Wherever you are sitting on that question, moving from writing and editing to publishing is a big step. So, what if you are ready? What do you do now?

 

First, is to make sure you really are ready to take that next big leap.

 

 

 

If you are writing shorter projects: articles, short or flash fiction/nonfiction, poetry, etc.; you will likely find the rules on readiness for publishing less strict for some publications. Check their requirements before sending your piece in. And if it does not say otherwise, assume they want articles that are complete and edited to perfection, although that does not mean they won’t ask for revisions. Fiction submissions usually need to be completed work.

 

 

Photo by hannah grace on Unsplash

Photo by hannah grace on Unsplash

If you are writing a full length book, it’s going to take more work to make it ready for publication.

 

Pitching to a publisher with a book idea in the expectation of getting an advance to then write the book is almost certainly going to leave you lying flat in the depths of rejection. Unless you are Paul Sheldon (author of the Misery series in Stephen King’s 1987 novel Misery, made into a movie of the same name), or some other movie or book character, this is unlikely to result in a contract.  Big name authors with a track record of best sellers may score that advance based on an idea they haven’t written yet, but for the rest of us this is not how it’s going to work.

 

Whether you are writing fiction or nonfiction, your best option is to send that advance-seeking pitch to an agent, not a publisher. A small publisher may indulge you with a smile and nod, but they are unlikely to sign a contract for an unseen unwritten manuscript by an author whose work they don’t know. And, if you want to get in with the big publishers, you need an agent.

 

As an unknown or little known talent, your best option is to write the book first, perfect it, get it edited, and then pitch it. This way potential publishers and agents can see the quality of your writing.

 

 

Photo by Hannes Wolf on Unsplash

You wrote a book, but is it ready to publish? The answer to that is the answer to this question: is it edited to perfection? It is not enough to write a book. It needs to be written well, to hook and pull the reader in, make them yearn for more with the ending of each page. Editing and developmental errors can ruin this and your chance of being signed on with the publisher.

 

The book market is rife with editing mistakes from the big name authors at biggest publishing houses down to the smallest self-published author. They happen. People edit and people are fallible and let’s be real here, writing and editing a book are huge undertakings. You also don’t really know how much that publisher is actually investing in paid editing, so you want your book as perfect as you can make it before you submit it. Heck, I was published with a small press who claimed to have a paid editor. I suspect their editor was more fictitious than my characters; at least they have some form of life breathed into them through the pages of the books.

 

What kind of editing do you need?  All of them.

 

Photo by Makarios Tang on Unsplash

Photo by Makarios Tang on Unsplash

The four main types of book editing are (in the order they should be done):

 

1) Developmental Editing: This is a structural and developmental edit of . . . everything; including a critique of the essential elements of the story: plot, story structure, setting, timeline, characterization, pacing, and of course, presentation and marketability. You may have already rewritten your manuscript in whole or parts before this, but be prepared to have it stripped down to basics. You may do so again after the beta readers have read it and given you feedback. This is where you might find yourself re-ordering or rewriting events and chapters, reimagining characters, tweaking your story arc, and other major revisions. This will include line editing, copy editing, and proofreading, but does not replace those necessary steps afterwards. With the revisions that will be done, you will still need the following editing steps.

 

Note: at this point you should have or be enlisting beta readers to give you feedback on your story. You may have to go back to the developmental editing on parts or all of your book after their input.

 

2) Line Editing: Line by line edit focusing on the flow, tone, and style of writing. The goal is to clean up unnecessary verbosity, tighten sentences, and fix awkward sentences and paragraphs for readability.

 

3) Copy Editing: Essentially it is text editing. This is a word by word edit to find and correct spelling, punctuation, grammar, language, syntax, typos, etc. This should be done after you are satisfied with the story structure, plot, settings, characterization, and so forth, and have no further changes to the story.

 

4) Proofreading:  The final editing of the book ‘proof’. This is the last look at the print ready book proof before publication to catch any missed typos and formatting gaffes.

 

 

Photo by Ivars Krutainis on Unsplash

Photo by Ivars Krutainis on Unsplash

Your book is perfect. Now what? Now that you have let beta readers at your book and have done further revisions and had all the forms of editing done and maybe done again, your book is ready to publish. Now you need to decide how you want to publish. For some, the old school large publishing house is the only way they want to go. Others prefer the total control of self-publishing. There are also the in-betweens; small publishers, Indy presses, and hybrid options.

 

1) Large publishers. These are the ‘you need an agent’ publishers. They typically do not take unsolicited manuscripts, and by solicited that means coming from an agent who has already vetted the author and their book as something that publisher might be interested in looking at. They also are more likely to expect an instant best seller and less likely to settle for anything less. You write the book, and they put in all the expenses to publish it and take the risks of whether or not it will make money.

 

2) Independent presses are publishing companies that operate solo. They are not part of or operating under the umbrella of a large multinational or conglomerate corporation. These can be large or small publishing companies.

 

3) Small press. The title basically describes what they are. These are smaller independent publishing businesses. They don’t have the large finances behind them, which also increases the risk of them going out of business in the tough world of book publishing. They are unlikely to offer an advance and that’s okay, because an advance is borrowing against future royalties you have not yet earned. It also means they don’t have the same corporate weight in getting your books into bookstores as the larger presses do. The good news is that you don’t generally need an agent to query them on your behalf. Small presses are usually quite happy to discuss publishing contracts directly with the author and are more likely to take a chance on an unknown author or book that does not fall neatly into the mainstream popular market. Like the bigger publishers, they pay the expenses and take the risks, but you are likely to sell fewer books.

 

4) Hybrid publishing occupies the space between traditional publishing and self-publishing. It runs in various models and is called by different names. Hybrid publishing is a newer variation on the publishing business and can involve a larger publisher, independent or not, or smaller publisher. Whatever you want to call it, the premise is that it is a hybrid of traditional and self-publishing; a cooperative agreement between the author and publisher that involves some financial investment from the author. The author has to pay for some of the services to get their book published, generally in exchange for a higher percent of the royalties. The author will also have more control over their book than under a traditional publishing model. This should not be confused with a ‘vanity press’, a term for a predatory company preying on the author’s need to be published (considered ‘vanity’ long before modern marvels like computers and typewriters made being a writer easier).

 

5) Self-publishing is the do-it-yourself of publishing. This is all on you. The author is solely responsible for all the costs and risks of getting that book published. You are your own publisher. There are a lot of services out there available for everything from the four types of editing to typesetting and formatting your files for uploading both to print book and eBook. There are artists and stock photos, and the cover designers to make them into your book cover for you. You are also on your own to market your book or hire a company to market your book for you. Self-publishing authors often utilize POD (print on demand) tools and/or eBook publishing. Self-publishing is your most costly option as far as monetary investments go. It is also probably the hardest to find success at, since you don’t have the name of a known publishing house behind you.

 

 

Whatever publishing route you choose, make sure your manuscript is one hundred percent perfect and do your homework. Research the publisher or service you are planning to use. Look for reviews, Better Business Bureau complaints, and anything good or bad online. Check out the covers of their other books to make sure they look like professional quality covers. How easily found are their books? Are they professional in their dealings with you? And above all, never sign a contract without being one hundred and ten percent sure of it. If you are unsure of the publisher or the wording or a contract in general, the online writing community is an invaluable source of help. So is hiring a publishing contract lawyer.

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You’ve likely heard it, that you must build your platform. While a lot of us know what that is, not everyone does. In its simplest description, your platform is your (mainly digital now) imprint on the world. Don’t think of it as your ‘popularity points’. It is not you (and not literally, I hope) standing there waving your arms and shouting for attention. What it is, is what kind of a following you have.

 

Some will argue a platform simply is, but really it could also be argued that it takes multiple forms. Like weaving story threads together, all of these things and more come together to build your author platform. Each part of your author platform gives and takes support from each other.

 

When a potential agent or publisher looks at you, your platform is the likelihood of your book selling in the mass quantities that make it worth their while.

 

Your digital platform is your presence online and how likely new and existing readers are to come across your name or go out of their way to follow you. It is everything from your Facebook author page, Twitter, and Instagram, to your Amazon author page, Goodreads, your name appearing in Google searches, and your blog posts and website. Every like, share, and comment online is building your author brand.

 

Your product platform is the work itself that you do, your writing regardless of its form, or whatever services you are offering. This includes public speaking engagements.

 

Your professional platform is your level of professionalism and the quality of your work you put out there, and that doesn’t just mean your writing, editing, and book cover or the services you provide, although a high level of professionalism in those areas is a necessity. It is also the level of professionalism you show at every stage and in every face. It is how professional you come across online, in person, letters, socially, and, yes, in your actual work. This is also memberships in organizations.

 

Building a platform involves creating your author brand. It is what people think of you. Your contacts: who they are and how many. It is you connecting with your audience, both existing and building it larger.

 

Everything is an opportunity to build your brand and platform. If you are doing the circuit of craft markets and genre events (ie poetry slams, SciFi, fantasy, and other genre conventions … the list is endless), use every chance you have to schmooze. Meet people, talk business, be sociable and friendly, mention what you do, make connections both professionally and with your potential fan base. Have a stack of business cards with your social media author links that you can hand out to potential peers and fans so they can connect with and follow you. You can get cards made up for a very reasonable price with Vistaprint (they constantly have coupon codes for deals!) and other print on demand business product printers.

 

Hint: When you are making your own business cards, remember to increase the brightness and contrast if there is a picture. Like book covers, it will print darker than it shows on your computer screen.

 

 

Think before you post. One wrong rant can derail your reputation as a writer and a person. In social media groups and on your professional pages be courteous, kind, and respectful. The impression you give when you communicate in social media is your online brand.

 

 

 

Think about the ways you can build your author platform (this list is not inclusive of every means):

  • Figure out your target audience and cater to them
  • Blog
  • Build an email list and send out newsletters (but don’t SPAM them!)
  • Social networking / social media
  • Write articles or columns
  • Do guest contributions to others’ blogs and websites
  • Public speaking appearances and readings
  • Membership in professional organizations
  • Interviews
  • Podcasts
  • Visit book clubs
  • Find places to do book signings (craft markets, conventions, libraries, stores, etc)
  • Schmooze and hand out your social media links business cards
  • Book readings
  • Put out more work. This is probably the most important. Keep working and putting it out there.

 

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Photo by Thomas Kelley on Unsplash

Co-owners of ChiZine Sandra Kasturi and Brett Savory have stepped down as publisher and managing editor of ChiZine. The new interim publisher is Christie Harkin.  From what I can tell her primary function will be to attempt to pay as much money that is due where it is due, to the best of her ability to sort that out. Where ChiZine will go from here is yet to be seen.

 

Chizine is (was) a Canadian press (quote direct from their about page):

“World Fantasy, British Fantasy, and Bram Stoker Award-winning ChiZine Publications publishes the same kind of weird, subtle, surreal, disturbing horror, science fiction, and fantasy that ChiZine.com (the webzine) had become known for since 1997, only in longer form—novels, novellas, and short story collections.”

 

I have read varying views on what actually happened to ChiZine. Not being on the inside of this controversy, I am refraining from making assumptions. (I have had my own experience with failed small presses). Google at the moment is filled with a lot of angry posts from ChiZine contributors, attempts by the owners of the publication to explain, as well as both those in support of and against them. I will leave that to you to make your own judgements.

 

The literary world is rife with publications that fail for varying reasons. It’s a tough and fickle business and, reasons for ChiZine’s downfall aside, High Fever Books is only one of those walking away from doing business with ChiZine.

 

The controversy tearing ChiZine apart, and you can easily find and read for yourself the many views on its source causes, boils down to contributors and others (editors, cover designers, etc) who are not only unhappy, but are absolutely furious, with not so recent developments involving the publication’s communications and inability to pay them, among other claims.

 

Whether someone will be able to pick up the pieces and successfully rebirth ChiZine is open to speculation. As some have said, it may be better they go quietly to sleep while another publication takes up the reigns of weird, subtle, surreal, and disturbing story publication in Canada. We certainly could use more Canadian markets for these stories.

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Photo by Aliis Sinisalu on Unsplash

Starting November 1st a number of large libraries in the US have begun boycotting Macmillan Publishers, suspending all electronic book purchases from them. The same day was the start of Macmillan’s library embargo, the limitation of public libraries and consortium to the purchase of a single copy of new e-book releases for eight weeks from the date of publication.

 

Libraries, in collaboration with partners in the Digital Downloads Collaboration, are fighting back against this limiting of access to a segment of society that may rely on libraries for access to literature in all its forms.

 

In an open letter, Macmillan’s CEO John Sargent said that a surge in e-book borrowing circumvents the assumed obstacles to free access to library books, ie transportation to and from the library and the requirement to physically return the book. Apparently he feels the digital age of e-borrows threatens the economic value of the books they invest in by making them more easily available to those who borrow them at no charge. In what could perhaps be categorized as an attempt to offset this restriction, Macmillan sells libraries perpetual access to the e-books they purchase and cut the price to libraries.

 

Publishing a book is not a costless undertaking by any means, so minimizing losses will be on every publisher’s to-do list. Meanwhile, libraries and their like are in the business of making books accessible at no or minimal cost to their members. Two sides with opposite takes on the situation who have not yet come to an agreement both are happy with.

 

Looking from the outside in are the writers, who naturally want to be paid for their blood, sweat, tears, and very souls they put into writing those books, and those who do rely on libraries for access to literary enrichment they cannot afford to buy at retail prices.

 

We are yet to see how this standoff will play out.

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By request, I’m talking today about Wattpad. Let’s talk about a thing called Wattpad. Wattpad was launched in December 2006, so it’s a not-new social media platform. For comparison, Facebook was launched in February 2004.

What the heck is Wattpad?

Wikipedia defines Wattpad as: “… an Internet community for readers and writers to publish new user-generated stories in different genres, including classics, general fiction, historical fiction, non-fiction, poetry, fan-fiction, spiritual, humor, and teen fiction. It aims to create social communities around stories for both amateur and established writers.”

Wattpad calls itself, “The world’s most-loved social storytelling platform. Wattpad connects a global community of 80 million readers and writers through the power of story.”

 

The long and short of it is that Wattpad is another means to an end for writers: building a fan following. You create a profile and publish your stories, long or short, series snippets or all at once, and hope people read them, like them, and follow you.

This means you are self-publishing those stories. Wattpad, like Smashwords, Amazon KDP, and others, lets you put your story in front of readers yourself, without the agent or publisher. The big difference here is that Wattpad does not give you the option of charging readers to download your stories. You are putting them up for free.

However, you can conceivably make money from publishing on Wattpad. How? Similar to getting paid by publishing vlogs (video blogs) on Utube. It’s about ad revenue. You monetize your Wattpad account by allowing ads to be inserted between your chapters, and if you have enough followers/readers/ad clicks, then you get paid ad revenue.

Disclaimer: Just to be clear here, once you publish on Wattpad, that story is published for all intents and purposes as far as any publisher or agent is concerned. So, if the submission guideline says, “No reprints”, your Wattpad story is off the table.

So, why the heck do you want to give away your blood, sweat, tears, and pieces of your very soul hard worked writing? Maybe you don’t, and that’s okay. If you do want to, that’s okay too.

 

It’s about marketing yourself. Being a writer means seeking ways to market yourself and that means followers on social media platforms.

Getting a following on Wattpad can be just as hard as building that following on any other media platform. People have to not just half-notice you exist, they have to be interested enough to click that little follow/like button. More, they have to be interested enough to really follow you and read what you have to say, and to go that step further and comment on your story and share and recommend it to other Wattpad users.

Talking to some fans of Wattpad, I am told the best way to develop a following is to invest yourself in them. You need to follow, like, and comment on other people’s stories and in return they may do the same for you. Visit the community section and participate in discussions. Like any media platform, the more likes and followers, the more visible you become to potential new followers.

 

Not everyone on Wattpad is a writer. There is a subset of people who are just there to read stories. But, there still is a lot of writers on Wattpad. Wattpad fans also tell me that the largest demographic on Wattpad are young readers. That’s right writers of middle grade, teen, and ya fiction, these are your people.

They are also often young fledgling writers just beginning to flex their writing wings. This would be why (I’m told) there are a very large number of poorly written stories on Wattpad that those magical gems of great stories excellently written are hidden among.

 

Wattpad is not just for the young. Older genre writers rejoice. Just because your writing is not middle grade/teen/ya, does not mean you can’t carve out your space on Wattpad. There are plenty of writers and readers of all genres and ages.

 

The beauty of Wattpad is the opportunity to be discovered. Those rarities, the writers whose stories are smash hits rising to the top of the Wattpad pile, can and have been ‘discovered’, netting them sweet publishing deals.

 

There is also a thing called the Wattys (The Watty Award). This is Wattpads own literary awards.

“The Watty Awards are Wattpad’s annual celebration of the electrifying, visionary, diverse voices that choose to share their stories on Wattpad every year. Across a decade of Wattys, we’ve celebrated the journey millions of Wattpad writers undertake to bring their stories from their dreams and into the lives of readers around the world.”

Watty Award winners get:

  • A winners’ digital kit to share your accomplishment with the world
  • Promotion on the Wattys profile on Wattpad, and other official Wattpad channels, which may include (but are not limited to) Wattpad’s official social media pages, newsletters, and other communications
  • A Wattys winner certificate signed by Wattpad co-founder and CEO Allen Lau
  • A limited-edition Wattys badge for your story cover
  • White-glove treatment from our Content and Creator Development team, including Wattpad Best Practices and Insider Tips and Tricks and priority consideration by Wattpad Studios for your story to be shown to entertainment and publishing partners
  • Consideration for Wattpad Paid Stories, our monetization program where writers earn money directly on Wattpad

 

 

 

Wattpad Links:

 

How do I Create an (Wattpad) Account

How to Publish a Story on Wattpad

Statistics and Demographics – Wattpad

The 2019 Watty Awards – Wattpad

The Wattys | Wattpad Wiki | FANDOM powered by Wikia

Understanding Writer Analytics – Help Center

 

 

Blogs about Wattpad Links:

 

10 Years of The Wattys — 2019 Awards offer fast track to Wattpad Paid Stories

How I Got Noticed on Wattpad (and Won the Wattys)

Wattpad’s Dark Side! – BookPromotion.com

6 Things Every Author Needs To Know About Wattpad

 

 

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