New Directions in Self-Publishing: A Discussion by Writers and Editors

May 19, 2018March 31, 2020 / thealiennextdoor / Leave a comment

I was recently invited by Editors Toronto and the Toronto chapter of PWAC to participate in a panel (co-sponsored and hosted by UofT’s Creative Writing Program) exploring the current state of self-publishing and the publishing industry in general. I was one of four professionals whose work has involved all facets of the industry from POD, hybrid models, and ebooks to crowdfunding and writing communities.

The four speakers included:

Meghan Behse, the president of PubLaunch Inc., a new online marketplace and crowdfunding platform where writers, readers, and publishing professionals join forces to get books published. In her role as publisher, she steered Iguana through a new world of digital and print-on-demand publishing while experimenting with unique royalty arrangements and funding models, including crowdfunding. Behse talked about how PubLaunch is using emerging technologies to help overcome the obstacles writers continue to face in the self-publishing industry.

Nina Munteanu, an experienced editor of traditionally published and self-published books, and an award-winning author of eight novels, including Darwin’s Paradox and The Splintered Universe Trilogy. A frequent contributor to Amazing Stories and the current editor of Europa SF, Munteanu teaches writing at George Brown College and the University of Toronto and has also published short stories, essays, and non-fiction books. Her latest book is Water Is…The Meaning of Water, a scientific study and personal journey as limnologist, mother, teacher, and environmentalist. Munteanu provided an overview of the industry—including use and misuse of terms—then spoke about evolving professional standards in self-publishing, and what these changes mean for writers and editors.

Stephanie Fysh, a Toronto-based freelance editor of independent authors in a variety of genres, including fantasy, science fiction, YA, romance, and erotica, and the former chair of Ryerson University’s Publishing program. She works with hybrid publishers on projects that range from harrowing memoirs to comedy, and still enjoys a textbook project that she can learn something from. Using her own experience as example, she talked about what self-publishing authors look for in an editor, and how that differs from the roles built into traditional or hybrid publishing.

Mark Leslie Lefebvre, the author of more than a dozen traditionally published and self-published books, a professional speaker, a digital publishing advocate, and a bookseller with more than a quarter century of experience. Lefebvre explained what prompted him to self-publish “ten years before any self-respecting writer would admit to such a foul thing.” And he’ll tackle the big-picture questions: “What is currently wrong with self-publishing, and how can we work together to fix that?”

I started the panel discussion with an overview of the publishing industry from traditional to indie to self-publishing. I overviewed five main publishing models and discussed advantages and disadvantages depending on needs and perspectives of the writer. A few advantages of self-publishing include: 1) getting a book to market more quickly than through the traditional publishing path; and 2) having more control over the end product.

The downsides in self-publishing arise from the same: 1) getting a book to market more quickly may seduce writers to compromise the lengthy process of perfecting their work (provided by editors, layout and cover artists) to put something out before it is ready; and 2) having more control also means more responsibility borne by the writer (the need to understand more in book production and marketing than a writer in the traditional process needs to). Another important disadvantage to self-publishing lies in more restricted distributing, marketing and exposure.

In my talk, I emphasized that while the current industry is providing great opportunities, with these come great responsibilities.

Authors and editors are currently facing a sea of possibilities. New directions, models, collaborations and structures face us as the publishing industry morphs into something new. Self-publishing and hybrid-players are at the forefront of that evolving tide of new publishing. And it’s very exciting!

Suzanne Bowness of PWAC Toronto provided a good summary of the panel discussion on PWAC’s blog Networds, and shared by the Editors Toronto blog Boldface. Editor and publishing consultant Michelle MacAleese who attended the event made these observations:

Many in the biz draw a distinction between self-published authors and hybrid-published authors; both are “independent,” but the self-published authors are a special breed, who *are starting to understand art and business and (usually) gladly develop proficiency in all the technical and administrative details of the process.
Not surprisingly, options for authors continue to change rapidly. What worked best in 2011 is irrelevant today. Many quality companies offer publishing services and hybrid publishing deals. (Many companies will pretty much just steal your money. One must read up before signing up. *Research is paramount)
The best publishing option for e-only genre fiction won’t be the same as for a debut hardcover business book. It’s a wide world of independent publishing.
Authors: If you don’t love technical things (formatting ebooks, working Amazon’s categories, tweaking descriptive copy), you probably won’t enjoy starting a publishing house of one.
Editors: Working with self-published authors is a specialty and those editors who are good at taking on that relationship and guiding the process are worth their weight in gold. (Isn’t it about time we begin to mentor each other in why this kind of author-editor relationship is unique, and how it borders on the agent role at times? *This is a great opportunity for editors willing to evolve and grow.)
Editors who already specialize in working with self-published authors: Let’s talk about how to partner with reputable publishing services companies as well as with other independent designers and book marketing professionals to launch great self-published books that sell! This point was just touched upon in the panel and is still evolving; again, editors are uniquely positioned as author-consultants to play key roles in new networks of independent professionals in the publishing industry. *italics throughout are mine

A few years ago, I gave a talk at Editors Toronto on the industry from the self-publishing author and freelance editor’s perspective. It remains highly relevant today, given that it spoke to the changing face of publishing and what it means for editors and writers. Editors learned about self-publishing and indie publishing, publishing myths, and imaginative ways to find new editing opportunities:

“Self-publishing used to be a scar; now it’s a tattoo.”–Greg Cope White

The Writer-Editor Relationship, Part 1: Editors Preparing Writers

April 27, 2016April 4, 2020 / thealiennextdoor / 1 Comment

Spalting patterns on decaying log (photo by Nina Munteanu)

As indie publishing soars into new heights and successes, writers are looking more and more to freelance editors to help them create works of merit that will stand out in the market. Whether this process is seamless and productive or fraught with difficulties relies on the relationship established between editor and writer—at the outset and throughout.

The writer-editor relationship—like any relationship—works best when communication between parties is transparent and clear. What ultimately drives misunderstanding—or its corollary, harmony—is “expectation” and how it is met. Clarifying expectations on both sides is paramount to creating a professional and productive relationship with few hitches.

Realizing Expectations

Indie authors often come to editors with unclear and, at times, unreasonable or unrealistic expectations on services. Many writers know very little about the kind of editing we do and the different levels of effort (time and associated fee) required. They do not understand the difference between “copy-editing” and “structural editing”, particularly as it pertains to their own work. In fact, many indie writers don’t even know what their MS requires. This is because of two things: 1) they can’t objectively assess their own work, particularly in relation to market needs; and 2) many authors have not sufficiently considered their “voice” or brand and matched it to a relevant target market. Both of these will influence how the writer comes into the relationship and the nature of their expectations.

It is best to be “up front” with everything, from understanding a writer’s work and market expectations to establishing your fees, your time, and the nature of your services. This is why a savvy editor will ask for a one to several page example of the author’s writing prior to offering their services and finalizing the nature of a potential relationship. Such an exchange may, in turn, include a sample of the editor’s work for the writer to assess. This exchange helps clarify the process for both parties.

A savvy editor will want to establish with the author the following things prior to taking him/her on as a client and embarking on the actual editing task:

The nature of the writer’s work: a writer’s work should harmonize with the editor and achieve a good fit; e.g., I edit fiction and non-fiction; however, I do not edit horror, because I simply can’t relate to it and don’t care for it. More on this below.
The author’s expectations and target market: this is key to establishing the kind of editing required for the author’s piece. Is it good enough to just copy-edit or will the piece require substantive edits to succeed in the identified market? This often requires open and frank communication between editor and author.
Nature and time of submission: on which the schedule is based.
Schedule and deadlines for deliverables: based on the editor’s realistic timing (including other work) and the nature of the editing job (to be established by some reliable means).
Nature of communication: form and frequency; partly to ensure that the writer does not abuse the communication stream with a barrage of emails, e-chats, phone calls, etc.)
Nature and cost of deliverables: e.g., use of track changes; inclusion of summary letter; follow up meetings, etc.
Mutual agreement on fees, fee structure and payment details: what, how and when.
Inclusion and nature of contract: this may include an NDS, if desired.

By clarifying these, you and the author create a new set of realistic agreed-upon expectations.

Fitting Writer with Editor

The right fit for editor and writer includes more than harmonizing genre, writing style, and content. The fit includes personality. A professional editor and colleague of mine recently shared on our list-serve about his experience as both a freelance and publishing house editor. The editor shared that a majority of writers responded to his edits with comments like, “finally, someone who just comes out and plainly tells me what’s wrong!” However, others complained: “why are you so mean?” The editor admitted to using humor liberally in his assessments and was described by one of his clients as “playfully harsh.” While the work of this editor is no doubt impeccable, the added humor may not be a good fit for some writers, particularly those who are not highly confident in their work.

Knowing your own brand of editing and being up front with it is part of achieving a good fit with a writer and can avoid huge headaches down the line for both of you.

Toward Honesty & Moral Integrity

I and some of my editing colleagues have run across several cases of indie writers who have come to us with “already edited works” that they believed only needed proofing or minor edits, but in fact called for substantive editing and story coaching to fulfill market requirements. The previous editor had either done a poor job of editing or the author had done a poor job of incorporating the edits. Either way, I was now in the position to inform this author, who had already spent several thousand dollars on edits, that his work required more than a “trim job off the top” to meet the standards demanded by the market.

My colleague suggested that it is unethical to copy-edit a manuscript that obviously requires structural editing or has serious “story” problems. I’m inclined to agree. The key lies in the expectations of the author and his/her intended market. This is where the editor’s knowledge of “matching work to market” becomes a critical part of the relationship with the author, whether you take him/her on as a client or not. I talked more about this in a previous article on Boldface, “The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know.” Honesty is best. Following the path of moral integrity may not put food on the table; but it will maintain your reputation as an editor of quality, which will keep the roof over your head.

Below is a mock email of a general response to a writer’s inquiry for help on their MS:

Dear Alice,

Thank you for your interest in my editing services. I am still taking on clients and would be happy to help you.

In your initial letter, you included a brief description of your story. It sounds intriguing and interesting. Science fiction is my passion (I’ve published nine SF books so far).

Before we proceed, I need a few things from you to ensure we are a good fit and to help me do the best I can for your project. First, can you please send me a short sample of your work (2-3 pages) and a very short summary. From this I’ll be able to confirm the kind of editing that best suits your project. For the kinds of editing/coaching services and associated fees please refer to this page on my website: xxxx.

Can you also answer the following questions?

1. (If they haven’t included the genre or a short premise, I ask them for one).

2. How do you intend to publish this book (traditional, indie, self-publish)?

3. Who would you say is your intended audience and market?

4. Is this book a stand alone or part of a trilogy or series?

5. Is the book complete (first draft or more)? If not, how much is written?

Based on this, I will suggest the kind of editing (and coaching) required to best fit your needs. This may be one or a combination of the following: 1) an evaluation/assessment at $xx/page; 2) copy-editing (with some substantive editing) at $xx/page; or 3) story coaching at $xx/hour. As outlined on my webpage (xxxx), I provide digital commentary (line by line) in your manuscript (in Word through track changes) accompanied by a summary letter with recommendations. You can find examples of what I do on this page of my website: xxxx.

Once I’ve determined what services best suit your work and you are in agreement with the service and fees, I will draw up a contract for you and I to sign. The contract will stipulate a reasonable schedule that you and I can agree on for the process and deliverables.

Once the contract is signed by both of us, I would ask that you send me your material along with Paypal payment for the first half of the agreed total fee by the date marked in the contract.

I look forward to hearing from you.

Best Wishes,

Nina

Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

Beating Today’s “S” Curve (or Why an Editor is Every Writer’s Best Friend)

November 5, 2014April 5, 2020 / thealiennextdoor / 5 Comments

Man on the beach, Toronto (photo by Nina Munteanu)

I’m an ecologist and a limnologist. I conducted environmental research and investigations for over twenty years; as senior scientist I investigated and reported on environmental phenomena to both the scientific and lay community. I find it interesting when something I’ve been reporting on for over twenty years finally makes it to the mainstream; like it’s news. So, when a New York City cab driver turned to me recently and lectured me on global warming like it was the new thing, I nodded slowly in mute agreement and didn’t tell him that I’d been studying it for over twenty years.

There’s an interesting phenomenon going on out there right now. Maybe you noticed it. Economists are all abuzz with it. Social scientists and psychologists are gossiping to each other about it: the exponential growth curve—or “S” curve—that we are currently in the middle of is fueling our food shortages, oil shortages, inflation, economic collapses, tensions between countries, population rise, and everything else to do with humanity on this planet.

Ecologists have long been studying this biological—and sociological—phenomenon in nature. The typical “S” curve has three parts to it: 1) the beginning, where it lags and shows a slow rate of rise; 2) then the steep rise of exponential growth; and 3) the eventual leveling off when the supposed carrying capacity is reached. There is another kind of curve, the “boom and bust” curve that instead of plateauing at the end toward sustainability, plummets just as steeply back to or below levels in the first step (that’s a whole other topic and blog post).

The ‘boom-bust’ population cycle. Note the resemblance of the human population growth curve in Fig. 1 to the exponential ‘boom’ phase of the cycle. The world community can still choose to influence the speed and depth of the coming bust phase. Source of graph: Biology: Life on Earth, 8th ed., Fig. 26-3. (taken from The Tyee Magazine)

Why am I talking to you about this? Because it has everything to do with your writing. The publishing industry is currently experiencing its own version of the “S” curve and the “boom and bust” curve (for traditional publishing houses, I’m afraid). We are currently witnessing a growing influx and legitimization of self-publishing and Indie publishing. Thanks to a few crazy success stories and the new affordable paradigm of POD digital publishing, publishing hasn’t been easier. This new model heralds an unprecedented renaissance of self-expression and creativity, shared worldwide.

Consider these statistics: in 2009, Publishers Weekly reported over 750,000 self-published/micro publisher titles, over twice the number of traditionally published titles that same year. The figures (I couldn’t find more recent ones—let me know when you do) are assuredly much higher today. From 8,000 to 11,000 new publishers currently enter the field every year and most of them are self-publishers or small indie publishers. Seventy-eight percent of titles brought out come from a small press or self-publisher. Fifty-two percent of books sold are not sold in bookstores; they are merchandised through mail order, online, in discount or warehouse stores, through book clubs, and nontraditional retail outlets.

As a function of this renaissance of self-expression, the number of books hitting the market is rising at an exponential rate. There’s that “S” curve again. Check out Amazon: they have over seven million books on their virtual shelves. And now, thanks to their new policies, it’s growing exponentially. What does this mean for you?

It used to be that the screening for excellence in books occurred behind the closed doors of prestigious publishing houses; if a book wasn’t deemed worthy of the standards or didn’t fit the style of that publishing house (with its own reputation), it was not accepted and didn’t see the light of day. The rejected and dejected author often went back to the drawing board to improve their artistic work before resubmitting. That was then. Now, works are published without prejudice in the open for the world to see. It used to be that writers complained of their writing being “sterilized” by the editor of the publishing house, which was only conforming to the house style and their vision of what is salable. Now, authors wishing for creative control simply self-publish.

Self-publishing has created a kind of anarchy in publishing; anything can be published (so long as you have the money). And while this is incredibly liberating for authors around the world, it is also incredibly dangerous. Here’s why: once you publish your material, it will be out there for the world to see forever. That means FOREVER. It becomes a permanent record of your standards of excellence and taste; essentially a statement of who and what you are. You had better be proud of it then and for a very long time. It is no longer the responsibility of the publisher to determine publishing worthiness; the onus is on YOU, the writer. What will you do to ensure the best possible work for your readers?

Competition will become ever more fierce AFTER you’ve invested and AFTER you’ve published; your book will then compete with a world of self-published authors in addition to those published by traditional publishing houses. In order for your book to rise above the massive competition, it’s more important than ever to produce a concise, clean, clear, polished-to-perfection manuscript that you are proud of. With an awesome cover (see my July 2013 post on book jacket covers).

Self-published author Dave Bricker shares that, “Poor editing is the number one complaint heard from critics of the independent publishing industry. Though the standards of mainstream publishing houses are overrated, I’ve read many indie books where spotty spelling and lack of polished prose present barriers to enjoyable reading. Unedited authors sully the publishing waters for the rest of us.” He’s talking about poor packaging. Poor manuscript presentation can seriously undermine an author’s chances of being taken seriously. A good reputation is earned slowly and tenuously; a poor reputation, like the plummeting “boom and bust” curve can end a writer’s career.

“Why not produce a pressure-tested product that has already withstood the scrutiny of a professional critic whose standards are much higher than those of the average reader?” says Bricker. “As with your typesetting and cover design, the best route to success is to engage a professional.” He is right. If you want to be treated as a professional (by readers) then be professional and engage professionals.

What do professional editors do?

Sample of story editing (with permission of author)

Editors aren’t proofreaders, although this might be one task in several they can provide. Most editors are what are variously called structural or story editors; someone capable of commenting on the work objectively and with competence. Is the story believable? Are there unexpected temporal jumps or unexplained threads in the narrative? Are the article’s assertions properly supported? As with affairs of the heart, it’s easy to understand the problems of others and difficult to acknowledge what we’re too close to see—and if you think writing isn’t an affair of the heart, you haven’t started your book yet. Get that third-party perspective.

No one likes to be edited. Of course you feel protective of your material; that is natural. You’ve put so much into it; how could a stranger possibly understand and treat it with the respect it deserves?

Professional editors are accustomed to interacting with authors in a mutually respectful relationship. Editors have to make a living, and they would quickly find themselves unable to if they treated their clients in any way other than professionally and respectfully. A professional editor is more likely to serve your true interests in getting published than a friend or relative who likely knows little of “storytelling”, plot and character; and may side-wind you with inappropriate advice or platitudes. In fact, showing your work to a friend or relative may be the reason why you have decided that you “don’t like to be edited.” Before I was published, I once showed my work in progress to my husband, who was too close to the subject and its writer; he made very unprofessional remarks that were more damaging than helpful. If you go with a professional you will not have this problem.

Throughout history, authors have relied on their editors to be their sounding boards, to represent the eye and ear of the reader, and to help bring a viewpoint that can’t arise spontaneously in the author’s head. In the past, the traditional publishing house has typically provided this service. Many publishing houses now expect the writer to provide a manuscript that has already been edited. Indie and self-publishing scenarios leave the onus on the writer.

Two of the most common excuses that authors find for not engaging a professional editor include cost and venue.

I can’t afford an Editor: can you afford to put out a book for the world to see that is full of mistakes? If you aren’t serious enough about writing and publishing to invest in your career with good guidebooks, courses & workshops and coaching and editing, then perhaps you should rethink your career. No one would think twice about training and getting professional help to become a successful nurse or pilot. Writing is the same. For it to be successful, it requires investment. Especially if you are considering self-publishing.

Self-published author Dick Margulis reminds us that “Self-publishing is a business – the publishing business – and if you hope to succeed in it, you have to manage it like a business. You have to look at your skill set and decide which of the many tasks associated with publishing you are suited to doing yourself and which can be done more effectively and more economically by others. Your time has value, and you have to decide how it is best spent.”

It’s Just an E-Book: a common mistake, particularly with digitally published books, is the notion that because you haven’t invested in typesetting or printing you can fix the mistakes later. That is a poor notion. And a risky approach that smacks of laziness. Letting your readers find your mistakes for you is a poor show and will hurt your reputation as a writer (no matter who publishes you). With books, no matter what format, the first impression is critical. For some readers that may be the first and last time they meet you and your work. Make sure it counts. Word gets around pretty fast on the Internet. Ensure that it’s a good word.

So, now you want to find a good editor… Where can you find them?

Here, in Canada, most good professional editors belong to the professional editors association known as EAC (Editors Association of Canada). You can browse the association website for an editor’s profile with information.

Many good writers also freelance edit, like myself (see what I do as writing coach and editor under the Coaching/Teaching tab here). My Major Services Page describes my services in more detail.

Boardwalk on The Beach, Toronto (photo by Nina Munteanu)

Hiring an author/editor is a good fit, particularly if the author/editor writes in your genre interest. SF Canada, a professional writers organization in the science fiction and fantasy genres, is another good place to find author/editors in that genre.

I know and have worked with several excellent editors, including non-fiction, technical editors, fiction editors, etc. You can drop me a line if you are looking.

And, while you’re looking, check out my interview with Jennifer D. Foster of Boldface (Toronto Branch of EAC blog) On the Author / Editor Relationship and what makes a good editor.