As I said last week, I’m a self-published—or Indie—author. This means I do all my own writing stunts, publish my own books and reap the rewards every month from Amazon and, via Draft2Digital, from Nook, Kobo, Apple, etc. But it’s only been the last few months that my rewards have been noteworthy. Before that I used to dream of selling 200 books a month, or in my craziest, most optimistic moments, 500 books!!! Now I am comfortably selling several hundred books a week. Yes, I know, it’s still not megabucks, but give it time. It’s more than I’ve ever earned in my life. If I’ve learned anything as an Indie author, it’s patience! And persistence. And optimism. (This could turn into one of those ‘What did the Romans do for us?’ discussions…)
I also sell paperbacks online from Amazon in the UK and the rest of the world, and in the US, from Barnes and Noble online as well as Amazon. And they do sell, many people (I’m secretly one of them; my age, I suppose) still prefer to hold a paper book in their hands and turn actual not virtual pages. I’d love to sell paperbacks from high street stores, but it’s not happening at the moment. I could go to a printing firm and get hundreds printed up, but I just don’t want boxes upon boxes of books around my home, and I don’t want to be stuffing jiffy bags all day when I could be writing, or drinking coffee. Nor could I match the price the paperbacks sell at on the Interweb. The postage cost alone makes that a non-starter.
One huge difference to my ‘wildest dreams writer scenario’ is that I pictured myself as (a much younger, obviously, and cool and OBVIOUSLY gorgeous) a kind of Jessica Fletcher character, pottering about in sensible cardigans and pearls, and solving real-life (non-dangerous) crimes, whilst fitting in the odd bit of typing on a vintage, collectible typewriter.
Real life usually is more like me struggling to find a reliable internet connection, and trying to remember what I wrote yesterday, or wishing I’d remembered to buy toner for the printer, and wishing I could use my pretty notebook instead of my plain one. Or, as last week, spending seven hours in A & E with my Mum. Obviously (clearly my word of the day) I was glad to do it, she couldn’t have gone alone: she doesn’t know her surname, her date of birth or her address. She certainly doesn’t know her medications and their doses. Actually she doesn’t know me either. But interruptions to routine occur, and last week, I managed very little in the way of new work, which made me depressed. But real life is what gives us our story. Real life is where we fight to get the words down on the page in spite of all the other stuff we have to do. We’re not alone in that. In many ways, as an Indie author we can be more flexible about deadlines and publication dates.
What else do you as a self-published author need to do apart from writing your book and creating your cover?
I said last week I do my own editing and proofreading. I still do. I know you’re not supposed to, but I do. I can’t afford to hire someone to do it for me at the moment. I realise that it’s easy to miss a vital typo, and difficult to pick up on waffle, (always easy to rationalise that away) overused words or phrases, or even to be sure that what is clear to you, the author who knows the whole story, is just as clear to the reader who is learning the story a page at a time. That’s quite a tough one. I do have help with the final proofreading stage, and that is invaluable for picking up little annoying bits and pieces, but overall I trust my own instincts, and try to stay calm and focussed, try not to freak out at the enormity of the task, or the very great possibility of people hating my work. I also try to bear in mind George R R Martins’s comment that ‘writing is not a democracy’. That’s why it’s MY book, not someone else’s.
The editing and proofreading process is far longer and more important than most people realise. I once read that if you don’t hate your book by the time it is published, you haven’t done enough editing. That is so true. By the time I’ve finished everything that needs to be done, part of me dies inside at the thought of reading it once more time. But that’s only temporary. Once your book is genuinely finished, and it’s out there in the big wide world, give yourself a little break, then come back and amaze yourself at how wonderful it is. You will think, wow, is that really my work? Surely I didn’t–couldn’t—write that? It’s a wonderful feeling.
Editing—actual, practical steps:
- Read the whole thing through OUT LOUD to check for typos, meandering, unclear nonsense, missed words and phrases and overused words. I am terrible for overusing So and And! If you use an unusual word, for example, coterie—use it once, not many times. Unusual words will stick in the reader’s brain and annoy them!
- Check all character names and descriptions are consistent. Double check all relationships and partners.
- Check that all technology, science and social interactions are correct for the time period you are setting them in, or if you are inventing these, make sure they are logical and consistent, and properly explained without tedium.
- If you use real places, check you are correct in how you’ve used them—can the action take place in the way you described? Was that place in existence when you say it was? Was the technology, science and social stuff as you ‘think’ it was? Don’t say the beach is sandy if it’s not. Don’t assume there is an old church in the middle of the village. Don’t give a tiny little village its own police department. Readers will know.
- Be honest. Does it work? Does each step in your plot follow on logically from the previous one? Is there a believable reason—in your mind at least, readers may not always agree—for why a character acts a certain way? Have you over-explained? Have you under-explained? If it’s not working, admit it and correct it. Do it now before anyone sees it.
- Get rid of waffle. Shorten long meandering descriptions and overly-complicated sentences. When You read out loud, you will soon discover those sentences that trip up the reader and mess up the smooth flow of your story. Don’t overuse adverbs. Don’t tag all speeches unless you need to make it clear who is talking. In a dialogue between two people, this will only need to be done sparingly. There is nothing worse for the reader than every speech being tagged. What I mean by that is, you always say who is speaking. You don’t need to do this all the time. Read your work out loud and you will see what is superfluous. Also, don’t use a large variety of euphemisms for ‘said’, etc. Said should be your go-to speech tag. Followed by minimal use of replied, responded and similar words. Please do not use chortled, ejaculated, declared or any of the more emphatic words—they are horrid to read in dialogue. More importantly, they stand out like a sore thumb, ruining your lovely little ‘suspension of belief’ state you have lulled your reader into. Said is invisible, declared is not.
- Do a final proofread, out loud preferably, and get someone else (who owes you a massive favour or loves you to the point of obsession) to read the entire thing with you. Correct every single thing: missed commas, extra spaces, inconsistent title fonts, everything. Check every spelling, and all your facts. Don’t tell yourself no one will notice—I guarantee they will. And they will mention it in their reviews.
Next week: Part three: what do you do next?