SELF-PUBLISHING = SPEED

If time is of the essence in reaching your readers then take the alternative publishing route, but don’t cut corners.

There’s something exciting about being able to create a product – for your book is that – and get it to market at a good lick. It used to be a year, sometimes two, for a book to make its way through the publishing channels and out to the shops.

Nowadays, once the text is edited and formatted and the jacket illustration approved, e-publishing takes a matter of hours and print-on-demand a matter of days. It’s so darn simple. No doubt in a year or so it will be done in the blink of an eye.

The flipside, of course, is that you’re not featured in a publisher’s catalogue, so your book is unlikely be purchased by the library service. Your print-on-demand book is just that – so you are unlikely to find it on booksellers’ shelves. If customers find you, they will have to order your book. And any publicity will be all your own doing.

But – if agents keep a weather-eye on up-and-coming e-book authors, what’s the point of wasting months sending them your precious manuscript, unless you are known to them or have some kind of connection. Sending an agency your manuscript blind is the literary equivalent of cold calling – and the hit rate is miniscule. The chances are your book will join the slush pile and you’ll wait months before you receive a rejection slip.

In those months, and the months that follow as you send it out to another agency, you might as well have published it yourself. Then you can send the paperback to the agent instead.

But be warned. An independent bookseller friend told me he would never take a book that didn’t have a good jacket – even if the writing was okay. We live in a visual society, so get the best illustrator and designer you can afford (and that’s after the best editor – and a formatting expert is not an editor, whatever they will tell you).

You can publish your book for peanuts or you can see it as an investment. The global market is a big place and your book could be out there a long time. It might, even, get picked up by a top publisher. My advice is to get it out there, but don’t cut corners.

BRITISH WEATHER AND CREATIVE FLOW

Greetings blog readers from a warm and sunny Norfolk!

How long will this wonderful weather last we all wonder? This year we have waited so many months for the sun. Who knows? It could all change tomorrow. Britain is an island nation and our weather is forever changing. Subject to numerous variables, none of which is in our control, we tend to wait, anxiously, for things to improve.

Sometimes I think the British weather is like creativity. You can’t guarantee it will be there when you need it and most often it is not. I find my creativity comes in waves, and diminishes when I am tired or stressed. Some days I can write for hours. Some weeks I cannot write at all. It is not laziness, nor lack of application. I find if there is nothing to say, then there is nothing to write. As soon as I know what to say – the next piece of the plot is in my mind – I write.

One of the things I have to do when writing is to stop reading. Fiction is a no-no. Newspapers, crosswords and the odd television programme I can cope with, but other people's stories scramble my ideas. If I want to write, I need a clear head and a quiet mind.

A week ago, having finished the 7^th and final Sprite Sisters story, and in a burst of creative energy, I sat down to write the first title of a new trilogy that has been in my mind since 2006. I have made copious notes and written numerous chapters for The Earth Stories, but the ‘right time’ had not come. I had been too busy with the Sprite Sisters to engage in another big project.

Having got out the box file and looked through it, I typed, ‘The Earth Stories – Book 1 deadline Autumn 2013’, printed it out and stuck the piece of paper on the wall in front of me. I like to have a deadline.

But something surprising happened. As I sat there, staring at my new deadline, the words ‘Boudicca’s Daughters’ kept ringing in my mind. Boudicca’s Daughters, Boudicca’s Daughters . . . The words would not go away. This had been the intended title of the second volume of The Earth Stories, but I had often wondered if it would make a better stand alone novel for young adults.

So, as with the British weather and guided by some invisible force, I went with the flow. I got out a second box of notes and writing that I had done on Boudicca’s Daughters in 2010, and was surprised to see how much I had completed. Okay, I thought, I’ll write this book first.

I peeled the deadline for The Earth Stories off the wall, typed and printed out another. Now the words, ‘Boudicca’s Daughters’ stare at me from the wall, with the deadline of October 2013.

Much like our island weather, I set out to do one thing but found the pattern changed quite suddenly. I am back in ‘lock-down mode’, shutting out as much of the world around me as I can, while Boudicca’s Daughters makes its way on to the pages of my new book.

Outside the sun is shining, but I am sitting at my computer going with the creative flow.

LITERARY AGENTS AND THE DEVIL IN THE DETAIL

It might not be the most optimistic note on which to start the New Year, but I offer this cautionary tale on the subject of agents and rights. If I have one piece of advice to give – and this applies to all creative people, not just writers – never give away your rights unless you absolutely have to, and when you do give them carefully and in small pieces.

I have always tried to live my life being fair. In contract negotiation, I aim for a win-win outcome. I like to build long-term relationships and would never shaft anybody, because I believe that what you give out you get back.

In January 2007, I had the idea for the Sprite Sister books and approached Brenda Gardner at Piccadilly Press. I had worked with her before when she published my ex-husband’s first picture book in the 1980s. She liked the idea of ‘four sisters, four elements, four powers’, and a few weeks later offered me a contract for the first Sprite Sister story.

The Society of Authors helped me negotiate this, along with the second contract. I kept back the subsidiary rights such as e-book, film and television rights, which Brenda Gardner was happy about.

Then, in January 2008, as I was about to begin the third book for Piccadilly, I had an offer for a film option. This was from a producer I knew – had written a number of business features about her. However, having gone through the process of negotiating film contracts with my ex-husband for our newspaper cartoon character, I knew I would need an agent to help me. I approached three agents, all recommended by friends, and they were all interested.

As my first book hit the shops, I met with one of the agents and I liked her. She said she loved the books and would be ‘honoured’ to represent me. I was very pleased and believed we had a long, sound business relationship ahead of us. She set to work on the third book contract, but was not happy that Piccadilly had world rights to the Sprite series. Having worked for 25 years on picture books, I was accustomed to publishers having world rights: it used to be the only way they could fund the cost of colour printing. I understood that, as a small independent publisher, Piccadilly needed to make money from its rights sales. It was a break point: Brenda Gardner would not have offered the contract without world rights. That said, I had no idea of the overall ramifications of the world rights scenario.

My new agent got a slightly higher royalty percentage, but the work of placing the book had already been done. I turned down the film option offer, as I didn’t feel it was good enough and it would have tied up the books at an early stage

Fast-forward to June 2009: I was about to write the fifth Sprite Sister title, which Piccadilly said would be the last in the series. Though the books had gone down a storm in Germany (Piccadilly sold the rights to Fischer Verlag), they had not done so well here.

At this time, I was not at all well. I was having a breakdown and suffering from what would be diagnosed in 2012 as a serious and rare gastric disorder. My mother had been diagnosed with Alzheimer’s and my daughter was also very unwell. A few years before, I had gone through a bankruptcy and divorce, lost everything, and was still struggling to pay the rent. Every hour of the day was spent trying to write to survive. It was fraught – but it would pass.

On 22nd June 2009, I received an email from the agent saying she no longer wished to represent me. It came out of nowhere. There was no discussion. I mailed back, asking for compassion – but the door was shut.

It was a staggering blow, but I would cope. The long-term problem would come from the financial clauses in the contract.

You would think, would you not – from a moral point of view – that if an agent dumps you within less than 18 months that they would relinquish the right to their percentage of your royalties. Not so.

I called the head honcho at the agency and argued my corner as hard as I could. We keep the financial interest in your book rights, he told me. That is the way it is. What, even if Piccadilly sells the Sprite Sisters to the US in five years time, I asked, dumbfounded. Yes, he said, even then. But that’s not right, I said. If I dumped her, then fair enough – but she dumped me! It will preclude me getting another agent!

I could hear his shrug down the telephone.

The Society of Authors agreed with the head honcho. It was tough, but that was the way it was. The agent retains a financial interest in any rights they sell, even when the contract is terminated, they said. In my case, because Piccadilly owned world rights, it meant that any further foreign rights sales would also pass through the hands of the ex-agent. The agency financial department would check the royalty statements each year, but the ex-agent would not have to lift a finger.

In 2010, I set out to find a new agent. I approached six at literary agencies big and small and was turned down by them all. The rights situation with the Sprite Sister books was too complicated, they said. It felt as if my ex-agent had screwed me right and proper.

I knew I needed to break free of the ex-agent’s financial claim to future sales and to do that I would have to get back all the book rights. The German rights would stand: she would get her share of those sales and I would have to bite the bullet.

In Spring 2012, the first Sprite Sister book, The Circle of Power, went out of print. I asked Piccadilly if they would reprint. They said no and in the early summer agreed that the rights of all five titles would revert to me. In lieu, I bought up the remainder stock of 2000 books. At the same time, Piccadilly asked the agent to relinquish her rights in any future sales of the books and she agreed. I was free at last.

I set about re-packaging the titles, publishing print-on-demand paperbacks and e-book editions – and selling abroad.

I will have to give the agent a substantial amount of money every year for as long as the Sprite Sisters sell in Germany – and the signs are good with sales of 270,000. The experience stills galls. In October 2012, when my royalties came through, the financial chap at my ex-agency mailed me cheerily, saying, ‘We love your German sales!’ Yes, I thought, I’ll bet you do. Not bad for a year’s representation with no titles to place . . .

But I must look to the future. Recently, through the Society of Authors, I approached an agent in Japan, who is keen to sell the Sprites there. Last week I mailed an American agent recommended to me by a friend. One way or another, I will find a US agent and get them to sell the US rights.

This is an upside-down approach. Don’t have one agent – get several. Get a different agent to represent you in each territory. It means none of them will have a claim to all of your book rights.

If you have a UK agent, they will probably use subsidiary agents to sell foreign rights and you will lose another slice. If you go direct to the foreign agent, you have one slice taken off.

Brenda Gardner and I get on well and she has wished me luck in my venture. I am eternally grateful to her for giving me the opportunity to write five books for Piccadilly Press.

Occasionally I have to mail the agent and am polite. But if I ever see her, I hope she hangs her head in shame.

A few tips on rights as I see it:-

·      Read the small print: when offered a contract, get as much professional advice as you can.

·      Keep your subsidiary rights: don’t bundle them in with the book rights.

·      Negotiate a fair termination clause (if I had known, I would have tried to get a clause in which the agent relinquished their rights if they dropped me).

·      Self-publishing gives us the freedom to choose how and where we sell our work: use it to your advantage.

·      Never, ever, sign everything with one agent unless you have a very good termination clause that works in your favour, as well as theirs.

·      Be a buccaneer in your approach to self-publishing: fast, light and responsive.

·      If you agree world rights with your publisher and they sell foreign rights, it is unlikely you will see the advances from those foreign deals until the whole publisher’s advance has been earned out. Nobody tells you that beforehand.

·      If you value your sanity, remember it’s all a learning curve and there is no one ‘right’ way.

·      If you are working on a book and need financial help, ask The Royal Literary Fund. They helped me and I thank them.

SPARKS FROM AUTHORS ELECTRIC

SPARKS – A year’s journey through e-publishing

The first anthology from Authors Electric

The Authors Electric blogspot receives over 12,000 hits a month and its worldwide readership is growing. The group of 29 independent and independently publishing writers present a kaleidoscope of books, opinions and ideas aiming to entertain and inform, each posting one blog a month. Now the group is publishing a selection.

SPARKS is an anthology of blogs by a group of bloggers. It includes contributions from 41 professional authors posted between June 2011 and November 2012. Released on Kindle, SPARKS will cost less than £1. A free app will be available for download to allow the anthology to be read on a wide range of devices. A paperback version is planned for the New Year.

The idea came from Julia Jones, a former bookseller as well as a publisher, reader and writer. Fascinated by developments in the book trade, she got into the habit of reading her fellow Authors Electric members’ blogposts on a regular basis. The more she read, the more impressed she became ‘by other people’s knowledge, humour and their willingness to share their experience’. A casual remark on Facebook that she could ‘feel a collection coming on’ was met by an enthusiastic response – and SPARKS was born.

‘Anthologies have always had their place in the newspaper and magazine world – and I'm not aware of another UK blogging group that has produced anything like this,’ says Julia Jones.

With 430 blogposts to choose from, Jones selected one post from each current member, one from every former member who’d posted on five or more occasions, two guest posts and two ‘specials’.

‘SPARKS aims to present “the journey so far”,’ says Jones. ‘We are a group of authors e-publishing our own work for a number of reasons: some are disillusioned with conventional publishing; some have new work that does not fit traditional genres; we all want to keep our backlist titles in print – and for the sheer pleasure in managing our writing lives. SPARKS reflects this, as well as the new excitements and difficulties of self-publishing.’

One of the ‘specials’ selected marks the 100th review on the IEBR (Indie eBook Review), sister website of Authors Electric. An outside perspective on how media attitudes to writer-publishers have changed is provided in an interview with Scott Pack, publisher of Harper Collins imprint, The Friday Project; book trade analyst and a former bookseller.

‘SPARKS offers a perspective on a year that has seen real change in the independent e-publishing market,’ says Julia Jones. ‘The experience of the individual members of Authors Electric is probably representative of many other writer-publishers. Contributing as a group has helped all of us feel clearer about what we’re trying to do, even when we don’t agree with each other. We all feel more confident that choosing to publish our own work isn’t some form of vanity, but is a new way to connect with readers and manage our own books and our own careers without depending on the traditional “gatekeepers”.’

The paper version of SPARKS is a not-for-profit exercise and will be sold at cost, or as near cost as retailers’ (such as Amazon) pricing structures allow. Authors Electric member, Stephanie Zia (an author who also runs her own e-publishing company, Blackbird Digital), is managing this side of things. Any royalties paid to Blackbird will be put towards providing free books to journalists, reviewers, analysts and broadcasters who might be interested in discussing the group’s work.

As with all Authors Electric projects, such as its Great E-Book Giveaway in April 2012, SPARKS is a group effort.

‘Authors Electric started just over a year ago with zero readers,’ says Susan Price, group co-ordinator. ‘It's now getting 12,000 hits a month from a growing worldwide audience – all due to its writing team of highly articulate, sparky bloggers! I'm privileged to be part of it, and can't wait to see how it develops, along with e-publishing, in the future.’

The SPARKS e-anthology is published on 28^th December 2012. The paperback version will be published early in 2013. The e-anthology will be free for the first five days, after which it will retail at US$0.99 (£0.77).

Journalists who would like a copy of SPARKS to review or comment on digital books, please contact:- Stephanie Zia at Blackbird Digital Books  +44 (0)7816 491189  blackbird.digibooks@gmail.com

For further information and comment on the Authors Electric group, please contact:-

Susan Price – susanlprice@hotmail.co.uk   +44 (0) 1384 256190

AUTHORS ELECTRIC – http://authorselectric.blogspot.co.uk

NAVIGATING THE WATERS

It’s an up and down life, this writing business: feast and famine, highs and lows, and the constant pull between nurturing your creativity and producing what pays the bills.

My rights in the Sprite Sister books have been reverted: now there is no Piccadilly Press behind me. I have to navigate my own way. Ahead are the huge, and potentially choppy, waters of digital publishing: few 7-10 year old readers – my market with Sprites – are yet buying e-books. Still, I wouldn’t swap it, this writer’s life, and the freedom of sailing one’s own little boat.

My summer has been spent re-editing the first five Sprite Sister titles for publication as e-books for Kindle, along with a second edition of print-on-demand paperbacks. I have found it a relatively restful experience to focus on stories that are already written, and to further refine them. I have also reconnected with the plots – have been able to pick up the thread once again. That itself is useful with one more title to write. With that I will be done, and bring the Sprite Sister series to a close.

There is a certain satisfaction in this. First, because there is a lot of me in the stories. The experience of writing Sprites has been fun and a way of reconnecting with my childhood adventures. Second, the seven Sprite Sister books will represent a good body of work: over 200,000 hardback books sold in Germany and sales still going strong. The complete series has potential for a children’s film or play. I have my eyes on the Japanese and American markets.

But it is time to move on. Autumn is coming and the air is cool. New stories beckon and I feel the need to write for the adult market. My little boat sits head to wind: I can’t see which way to go yet, but I can feel the pull of a new current. Soon, I will bear away on a new tack and be off once more.

Meanwhile, here are the first two titles of the new Sprite Sisters e-books. By the end of this year, I expect to e-publish all seven books. Just waiting for the illustrator to design the covers! Question: what does one call the image for an e-book – as it isn’t a ‘jacket’?

 Sheridan Winn is a freelance journalist and author of the Sprite Sister books – see www.sheridanwinn.com

The Circle of Power and The Boy With Hawk-like Eyes are available on Amazon Kindle. 

The Magic Unfolds, The Secret of the Towers, The Ghost in the Tower and    New Magic will be available as e-books this Autumn.

JOURNALIST-AUTHOR-PUBLISHER-BOOKSELLER

This blog was originally published on 3rd August 2012

I had never realised my writing career would require so much multi-tasking and so many changes of direction. But perhaps that’s just life: it has a habit of throwing curve ball when you least expect it. There’s a Spanish saying, ‘La vida es corta, pero ancha’: life is short, but wide. Or it could be translated as ‘free’.

You feel you have an innate talent. You learn the skills to apply that talent; work with as much determination, energy and focus as you can muster. Then it is down to the choices that you make – for there are always openings and opportunities to be seized, or not.

I have always believed that there’s an element of luck in every successful person’s life. I also believe that there is a lot more ‘luck’ out there than we realise – and that it is not just about spotting an opportunity, but knowing how to act upon it. Are you making the best decision? The way may be clear at the start, but there are brambles ahead: it may be better to turn down the contract they are waving at you.

The trick is to know when to act and which path to take.

Ah, would that life were so clear! As a birthday looms and another year of my ‘short’ life bites the dust, I am changing course again. It’s not a complete change – more a development of what has already preceded. But have I made the right choice? There’s the rub.

People with concurrent multiple careers – who, presumably, want their lives to be ‘wide’ – often adopt a ‘hyphenated’ professional identity. So we have the ‘teacher-painter’ or the ‘doctor-potter’.

I am, now, a journalist-author-publisher-bookseller. It’s all getting a bit complicated. As I wrote in my May blog, Bits, Bits, It’s All In Bits, I have agreed the reversion of rights in my first five Sprite Sister novels. In doing so, I have bought up the remainder stock from Piccadilly Press. There are now 2000 Sprite Sister paperbacks in my garage – all waiting to be sold. There are e-books to be published.

It was Charles Handy, Britain’s foremost management writer, who mooted the concept of the portfolio career in his book, The Age of Unreason, in 1989. Handy described ‘portfolio working’ as a lifestyle in which the individual holds a number of jobs, clients and types of work, all at the same time. He argued that, even if the portfolio worker made less money, his or her life would be freer and more interesting – and thus richer.

So how does this prepare me for my new role as a bookseller? Despite academic qualifications several aeons ago, everything I have learned, professionally, has been on the hoof.

I have chosen to take the leap. Now I have to quickly apply the skills I already have and learn the ones I need, to translate my decision into future success.

Experience has taught me that things and people turn up in my life as I need them. Not as I want them.

So, readers and book buyers, commissioning editors, foreign rights managers and film producers - come forth! I await you!

PS And please hurry up, as my life is whizzing by and I will soon be too old for all this dashing about.

Half a ton of books arrive

In the garage with my 2000 books

Hope the mice don't eat them

The new edition of The Circle of Power

Sheridan Winn is a freelance journalist specialising profiles of national and international business leaders; the author of the six Sprite Sisters book, and publisher of two of them. She has just launched the first book in the series, The Circle of Power, as a print-on-demand paperback and as an e-book. 

Find out more about her at http://www.sheridanwinn.com