Seven Questions to Consider When Self-Publishing a Book

By George Kittredge, Book1One

You’ve written your Great American Novel and you’re ready to publish. You have a pile of wedding photos and you want to create a keepsake for yourself, your friends and your family. You’re a genealogist researching your roots or a local historian and you’ve got your manuscript, photos, and maps organized. You’re a doctoral student prepared to submit your thesis.

You’ve got your book in hand (or at least on your computer) and it’s ready to go. Now what do you do?

Many people in your shoes turn to the Internet to find a self-publishing website to create their own book. And with technological advances in digital printing, it’s a relatively easy process.

So when you’re faced with the long list of resources under the search term “self-publishing,” and you find a website that seems like a good one, make sure you ask yourself these questions before you press the “place order” button.

1. What type of company should I use to produce my book?

The answer to this question depends on what types of services you need. Are you marketing and distributing your own book? Are you sharing your books only with family? If so, a book manufacturer might be the best way to go, instead of a full-service book self-publishing company.

Book manufacturers and book publishers are often thought of as being the same, but there are significant differences between the two. In the simplest terms, book manufacturers are strictly book printers and binders – a resource used by those who want to self-publish. Typically, they receive digital book files created by authors, and produce finished books based on page size, type of paper, binding style, and other book options their authors may want.

Unlike book publishers, book manufacturers do not offer editorial, proofreading, design, layout, marketing and promotion, or other support services commonly offered by book publishers. As a self-publishing author, you should consider that a book manufacturer is an outsourced service provider, in much the same manner as a professional graphic designer or editor.

2. How much will it cost to produce my book?

Look to companies where your only expense is the cost to print, bind and ship your books – and then find out exactly what this expense will be. You should be able to determine your cost before you submit any book files or place an order. If it’s difficult to get a price quote, beware! Know how much you’re going to pay up front before you make any commitments.

Ask if there are any set up fees or additional charges anywhere in the process. There shouldn’t be unless you are making a special request of some kind.

3. Does the company offer accessible, hands-on service if and when I may need it?

When self-publishing, one of the most frustrating things for anyone is to encounter a problem and not be able to talk to a real person. Technology is great when it works. But when it doesn’t, it’s important to have someone you can contact to help you fix the problem or answer your questions.  So after you’ve struggled through the FAQ section on a website, can you obtain assistance in a timely manner?  

Look for a company that has free, reliable “hands-on” service. Ask them what the procedure is to get assistance if and when you may need it. Consider: is customer support based in America and are their representatives native English speakers? Do you have to pay extra for a live person to respond to your inquiry? Avoid companies who ask you to pay for live customer service.

4. What is the minimum quantity requirement?

We’ve all heard the horror story about the author that produced 3000 copies of his new book, only to have them wind up in his garage. With today’s digital technology and short run capabilities, there is no reason to produce more copies than you need – and to produce them at a reasonable cost. Some book manufacturers have no minimum quantity requirements – even for hard cover books. But some do, so be sure to ask.

If you are creating your book for a small targeted audience or if you’re not sure how many books you will initially sell, a short-run book manufacturer is your best choice. You can always increase the number of copies in future production runs as the demand for your book increases – and eliminate the fear of filling up your garage with books.

5. Is the book production process easy to understand and easy to work with?

Ask the book manufacturer how their process works. Look to see if there are any testimonials on their website regarding how easy their processes are, and find out how long it will take to produce your books once they have received your digital files.

If you are producing your books in a soft cover, coil bound or saddle stitch binding, they should be ready within a business week or sooner. Hard cover books may take slightly longer.  If you anticipate having a tight deadline to meet, ask if you can place a rush on your project. You may have to pay an extra charge, but in certain situations, a company that offers a rush option is a plus.

6. What is the quality of their work?

Every company will say they offer a high quality product, but some are higher than others. And some may be better at producing the kind of book you want than others – particularly if you are interested in hard cover books that require special equipment, materials and expertise (i.e. faux leather covers, foil stamping, or sewn binding).

Some indicators of quality are the type of printing equipment they use (is it the latest technology?), and the materials and expertise that go into their binding operations. You may ask for a sample of a book they have recently made that is similar to the one you want to produce. Look for customer testimonials regarding the quality of their work, and find out what kind of guarantees they offer regarding their workmanship.

In particular, look for an “acceptable range” – sometimes a book manufacturer will say that they have an acceptable range of +/- 1.25 percent. That means that the quality of text or an image is “acceptable” if it is within 25 percent clarity and/or color of the image you sent. An “acceptable range” is usually not acceptable at all, and you’ll be stuck with bad books.

Another advantages of working with a short-run book manufacturer is that you can produce small quantities and make changes to your book files before the next production run. You can also “personalize” your books to accommodate a special customer or for use at a special event.

7. Do they offer you choices?

Most book manufacturers should be able to affordably produce your book in a number of sizes (height and width), so you shouldn’t have to produce an 8 ½ x 11-inch or 6 x 9-inch book if you don’t want to. Keep in mind, however, that part of your production cost is based on how many pages can be printed from a sheet of paper. Ask if there are “optimum” page sizes you should consider that can reduce your cost.

Another choice involves the binding of your book. Highly skilled book manufacturers can give you a variety of options. Typical choices should include a soft cover (called perfect binding or paperback); hard cover (with either a printed cover wrap or dust jacket); plastic coil binding (ideal for technical books, cookbooks or other books that are good for lying flat for note taking); and saddle stitch binding.

One of the benefits of working with a company that offers a variety of binding choices is that it gives you the opportunity to produce your book in more than one binding style. For example, you may want to print most of your copies with a soft cover, but also produce a small quantity in a hard cover binding to send to book reviewers and special recipients, or to sell through a specialty, non-traditional book outlet.

Today, an increasing number of authors are choosing to self-publish and using book manufacturers to produce their books. If you are one of them, asking the right questions will enable you to find the right company that best fits your needs.

George Kittredge is a member of the management team at Book1One (http://www.book1one.com), authored and published his own book in 2005, and has worked with self-publishing authors since 1997. He can be contacted by email at georgek@Book1One.com.

Writers as Olympians

With the London 2012 Olympic Games in full swing and gold, silver, and bronze medals going to the world's top athletes, I've been contemplating the wide breadth of events and wondering what it would be like to have an Olympic Games for writers. What events would best suit what types of writers?

Were there such a competition, here's how I think things might stack up:

1. Marathon Runners--Novelists; scribes of epic tomes. Writers in it for the long haul.
2. Sprinters--Shorts story writers; ad copywriters.  Writers who specialize in brevity and speed.
3. Synchronized swimmers--collaborative screenwriters. Writers who work seamlessly with others.
4. Boxers--Investigative journalists; op-ed columnists. Writers who pull no punches.
5. Wrestlers--Whitepaper freelancers. Writers unafraid to put their arms around a subject.
6. Divers--Tech writers. Writers whose every move must be exact down to the finest detail.
7. Gymnasts--Agency writers. Writers forced to vault blindly and jump through hoops for clients.
8. Powerlifters--Speechwriters. Writers whose words carry great weight, but risk leaving a resounding thud.
9. Hurdlers & Steeplechase runners-- Corporate marketing writers.Writers who face a myriad of obstacles from the starting gun to the finish line.

 Got any suggestions of your own? Feel free to post them in the comments field.

Non-fiction Taboo---Making Stuff Up

Say it ain't so, Jonah! Another big-time non-fiction writer has scandalized himself by veering into the world of fiction. It seems Jonah Lehrer's Imagine: How Creativity Works is a bit too "imaginative." He's admitted to fabricating quotes attributed to Bob Dylan which make up an extensive introduction to his book and has now resigned from his post at The New Yorker.

I read the book a few months ago and thought it was not great but all right. (You can read my review on Goodreads.)  I remember the section on Dylan being somewhat inspiring in terms of rejuvenation and stick-to-it-iveness but nothing really memorable stands out. Was it worth it? Does the Pope shit in the woods? No, of course, not.

Sometimes it pays off. Greg Mortenson of Three Cups of Tea fame has built an empire that wasn't based entirely on lies, but the stories he invented and passed off as fact sure didn't hurt matters. He's tainted now, sure, but his bank account is quite large. And James Frey rode his fictive memoir A Million Little Pieces to the throne of Oprah before being tossed overboard and into the sea of ignominy.

Non-fiction sells better than fiction but fiction writers give themselves a world of possibilities. When I write a story I can play around with words until a character says exactly what I want him to say. Even when writing PR and communications materials I can put words in the mouth of an executive that would never be spoken otherwise. "Just make me sound smart, ha ha," is what they will typically say. And so I do, and then they sign off, and all is good in the world.

Hmm, maybe Jonah Lehrer could have gotten Dylan's okay before his book went to publication. Now, however, Lehrer must feel the breeze from Dylan's "Idiot Wind," and be thinking: Someone’s got it in for me, they’re planting stories in the press.

Pinsky, Penn, & Press Release Quotes

Many years ago I got a job in a PR agency because I wanted to "write" for a living. Sure I really wanted to write novels and Godfather 4, but writing PR collateral on behalf of corporate clients provides the chance to write, although opportunities for creativity are generally few and far between.

The one chance to add a dash to creativity in press releases often comes when quoting an executive or official for their thoughts about the news being announced. (My first day in the agency I didn't understand the process, and laughs sounded when I asked for the phone number of the client CEO I was told to "quote.")

My personal favorite PR release quote was one I did for Robert Pinsky, back when he was the US Poet Laureate.

Our client, the first online wine retailer, had granted him a monthly wine allowance (through its wine club), just as the British had been doing for their poet laureates for centuries on end. So I whipped something up and sent it to Mr. Pinsky for his approval. To my pleasant surprise he made just a slight tweak on the back end and voila! The release was on the wire.

In the years since "working" with Robert Pinksy, I've enjoyed reading his poems and criticism, and watching him on televised programs like PBS's News Hour. I'll never forget his participation, however, on Stephen Colbert's Colbert Report. Here he is, having the final say in the Meta-Free-Phor-All between Colbert and Sean Penn:

The Colbert Report
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Writing and Editing: Switching Mindsets

So many of my waking hours are spent writing and editing (and reading). Just how productive I am at those endeavors, however, depends largely on how I allocate my time between them.

Making things more complicated is that some of the work is business world-related (marketing & PR client projects) while I also write and edit fiction. The business side of things often requires more research but the fiction pursuits arguably require a higher sense of polish and exquisite craft if what I write is to be published, and a fine attention to detail if I hope to select the finest submissions as editor of a literary journal or anthology. And there are other factors too, such as upcoming deadlines, how much something is or isn't paying, etc.

It isn't always fun, but I try to keep things at least somewhat rewarding (if not in the fiscal sense then on a personal level). To do so means I must be efficient, and figure out the best way to spend my time writing and editing throughout the day, switching gears whenever necessary. I can generally edit no matter my mood and energy level. The fiction submissions I read are short--by definition (fewer than 2000 words)--and generally entertaining. The only copyediting I do for the journal is usually minimal for the stories I've selected, a few weeks before each quarterly issue. For marketing and PR jobs, though,that can be a different story. Sometimes a client's  "editing" projects involve lots of revising and rewriting, if not restarting from scratch altogether.

Comes time for the writing of more complex business documents such as whitepapers and a fair amount of coffee and concentration become involved. If my mind isn't sharp and energized, a difficult day lies ahead. Worse still, or more challenging still, is the mindset I like to be in when writing fiction. It takes a certain spark to get going on something and then the ability to reignite at regular intervals to keep the momentum alive. It's something that used to come naturally--I could write for days on end as if my life depended on it--but doesn't occur as often as it once did. But when the muse strikes, I'll follow. And drink whatever aperitif or digestif it suggests, listen to whatever new age, jazz or rock tunes will help my writing move further on down the road. Then in the morning I'll give it a critical eye and keep what I can while slicing and dicing what I must.

It's an ongoing process if nothing else. Something that's constantly evolving. And as long as I'm at my desk with  my computer up and running and my brain somewhat engaged, I'll write and I'll edit and trust the results will come.

6 Things to Consider When Submitting Short Stories...

to LITnIMAGE at least.

Thanks to Jim Harrington for allowing me to contribute to his "Six Questions for..." interview series with editors of literary journals. My interview appears today.

If you're interested in submitting work to literary publications, "Six Questions for..." is a great resource. The site includes interviews with dozens of editors on a range of topics related to the submissions they receive, including what they're looking for, do's and don'ts of submitting, why stories get rejected. etc. 

Here's the first question:
SQF: What are the top three things you look for in a story and why?

RG: Stories must be engaging in some way, and typically, right from the start. Also, it really helps if the writing is solid, and the writer possesses obvious fiction writing skills and a command of craft. Thematically or style-wise it doesn’t really matter. Years ago when we started, all things being equal, I leaned toward darker and more experimental pieces, but now I’m just seeking the best LIT I can get my hands on. Ideally, though, it helps if a story isn’t too conventional, and has some sort of edge or weirdness to it. That’s true also for the IMAGE that art editor Kimy Martinez finds for each issue. We’re trying to create a certain aesthetic.

You can read the rest here

E-Books and Libraries, a Match Made in Hell? Not for This Publishing Giant

Libraries have always paid more books than you pay at a bookstore. The reason, of course, is that books are loaned over and over and aren't repurchased until copies finally succumb to all the wear and tear. Depending on the book, it might last for decades, and long be out of print by the time another copy is needed.

That's not necessarily true for popular titles, and as Dennis Johnson writes over at Mellville House The Big Six publishers (Simon & Schuster, Penguin, Harper Collins, Hatchette, Random House, and McMillan) have shied away from making their e-books available to libraries for perpetuity.

Until now. Random House has agreed to sell e-book copies to libraries for lifelong use and unlimited loans at a one-time fee. While the final pricing policy is still being configured and will be higher than a single print copy, according to Publishers Weekly the deal appears acceptable from all sides. Readers of e-books will soon find more popular titles available at their local library, And that's certainly a good thing.

New Issue of LITnIMAGE

Among other things, I edit fiction for the online journal, LITnIMAGE, We've been going strong for nearly 4 years!

And I'm happy to announce that our Winter 2012 issue  is now live. It's a great issue with many fine writers and artists. Please check it out!

Interested in Self Publishing? If So, BookBaby Is a Solid Option

I checked out MacWorld today for the first time in many years. 

It's a lot smaller than it used to be. There's very little enterprise software vendors and B2B deals going down. Apple isn't even there. Mostly you'll find all kinds of small apps developers, although there are still some sizable exhibitors mostly approaching things from the audio side. 

I kept an eye out for products and services of use to writers, but there wasn't much particularly relevant. Except for BookBaby. If you're a music fan you might be familiar with CD Baby or Disc Makers. Well, BookBaby is AVL Digital's service for books. They also have one for movies (FilmBaby) and for authors who need a website.(HostBaby). 

I spoke to Julia McCracken who said that a lot of children's authors and romance writers are publishing their novels and books using the service. But it's most popular among authors who are experts in some field and and market their expertise through an author platform of book sales and speaking engagements. While it began as an e-book service they've branched into print. Here's Julia explaining (above the din) how BookBaby works:

 

The Price Is Right...Or Is It?

There are signs the U.S. economy is slowly climbing up from the rocky bottom, although its feet are blistered and its legs are weary and there's not much water left in the canteen.

Still, it's progress. Which at least isn't bad news after years of nothing but. Among the hardest hit professionals, as always, have been consultants. And for freelance writers, all the worse. I've yet to see a bailout package for freelancers.

Seeking new clients can be a frustrating endeavor. Many companies can't afford to hire quality consultants as they have in the past, while other companies may be taking advantage of the situation, and negotiating rates that leave a writer with little in the pocketbook and not much self-esteem. Even more disturbing are the content farms that get creative professionals and communications experts, desperate for work, to compete against each other and "apply" for cut-rate jobs. I vowed never to succumb to such jobs, but I can understand why others do. Likewise, on Craigslist's job boards companies of all shapes and sizes, including many PR agencies, are seeking paid (and unpaid) "interns" whose job descriptions sure sound similar to those of what used to be considered marketing or account coordinators or--in some cases even--account executives. It's Kafka-esque.

Finding new business these days seems harder than climbing Everest, but when opportunities arise I think it's important that consultants don't shortchange their value and production. Personally, I've maintained the same hourly rate more or less that I charged many years ago when times were good. There's a lot of trust involved--on both sides--when a company hires a consultant. But when things work out a freelancer will often continue to receive ongoing projects and have a steady client.

Everyone needs an hourly rate to offer, but I generally provide proposals based on a project fee (expected hours included). If a company feels a $1000 fee for a project is justified, then whether one charges $50/hour for 20 hours or $100/hr for 10 hours is irrelevant. But it's much easier for a prospective client to say it shouldn't take 20 hours than it is to quibble with hourly costs. And they might also judge the quality of your work accordingly (worse, you may too.). In any case,  if you're like me, you may spend far more time than the hours for which you're billing. But at least that's on your terms, and if a client throws a last-second job into the mix with a looming deadline you'll get justly compensated  The biggest factor, though, is that when the economy picks up, and opportunities become more plentiful, clients will have become accustomed to paying a certain figure, and it'll be harder to hike your rates.

So don't discount your fees more than necessary. You'll be happy you didn't when the job market steadies itself and goes for that energy bar in its back pocket.

Welcome

Okay, so I decided to create a blog on business communications writing. I’ve been writing for PR agencies and corporations for fifteen years but, until now, my only blogging experience relates to a rock music-themed literary anthology I recently edited. Left from Write tackles different subjects altogether.

Here I will post about business trends, PR campaigning, marketing consulting and communications writing among other things, including interviews I plan to do with corporate communications and PR agency experts. Many if not most posts will in some way address topics on writing. Not just for business purposes, but in ways I hope will make people stronger writers and communicators in whatever ventures they undertake. I’m also a fiction writer and editor, and many of the sound practices employed in narrative fiction writing and business communications writing overlap or are one and the same.

So come by and visit often. I hope you’ll find something useful or be entertained.

Cheers,
Roland