I always thought that the hard part of being an author was writing a book. Turns out that was the easy part. The hard part is getting people to read it.
Here’s my tale – maybe what I’ve learned can help you.
Part 1 – The Agent
When I finished the first draft of my first book, I had this idea that I would go the traditional route: find an agent, get a publisher, sit back and watch the royalties roll in. Easy.
So I made a spreadsheet of agents in Australia, and I sent my manuscript to the name at the top of the list. Incredibly, a couple of months later they got in touch – they loved the manuscript, and wanted to represent me. There followed a fair bit of back and forth, in which my agent gave me a lot of great advice and guidance, which led to significant rewriting. And then we were off to the publishers. For three years.Without success. The rejections were all very encouraging and apologetic – mostly they referred to the fact that the publishing industry is in crisis, and that publishers don’t like to take risks on unknown writers (see my thoughts on that here) – but they were rejections nonetheless.
Eventually my agent had exhausted all her ideas, and we parted company friends. I still owe her a lot for her time, patience and brilliant advice.
Part 2 – The Assisted Self Publisher
By this time I had another book finished, with a third on the way, but I had lost several years. I wanted to get to market ASAP. I didn’t have the confidence to leap straight into self-publishing myself, so I took the next best route – I found an Assisted Self Publishing company. This turned out to be a great idea.
Ben Hourigan, the owner of Hourigan & Co, turns out to be a very helpful, smart and encouraging person, and he put me on the road to self-publishing. I wanted to learn all about how it’s done by going through the process with my second book, which I really like but I must also admit is not my strongest work. I figured once I had the whole thing down pat, I would hit the market with my first book, which is, if I say so myself, a beauty.
So, working with Ben and his team we got a website designed and built by the talented Dannielle Espagne at Leap Creative, and a cover design created by Andrew Brown at Ardel Media.Working with both these people was an absolute pleasure, and Andrew’s comprehensive briefing process leads to a beautifully designed high impact cover.
Next came the edit. My first book to be published, The Reprint, was the second I wrote, and by the time I started it I had learned a lot about writing, so the editing process was quite easy. But Ben and his editor, Justin Evans, put a fair amount of work into it and the result was unquestionably an improved book. It costs good money, but it’s worth it.
Part 3 – To Market
So then off we went to market. Ben arranged for artwork to be done, and ebook and Print on Demand copies were made available through Createspace, Amazon and several other online sales sources. In the meantime, Ben introduced me to Vellum, and using this, and InDesign, I was able to create the requisite files to design and create a couple of other books of short stories, which I put on the market quickly and easily. I made mistakes but I have been able to correct them, and the result is that I have three books of short stories and one novel available on my website to date.
Part 4 – What I’ve learned
Finding an assisted self-publisher you can trust is a terrific approach.I trust Ben and his team, but I have also gained the confidence to do a little of the design and artwork myself. However when it comes to cover design for serious works, and especially to editing, you simply must place yourself in the hands of a professional. For my money, Hourigan & Co, fit the bill, but you may want to seek out others.
The biggest thing I’ve learned, though, is just how hard it is to market yourself and your books, even with talented folks like Ben and his team behind you. It’s a tough slog, and I am finding it hard even to give books away, let alone sell any. I’ll persevere, because I believe in my writing and in myself, and because I am growing thicker skin every day.
If you choose to do the same, I wish you every success.
Readers seem to have liked ‘Bad Magic’ – a surf story set in Bali that appeared on baliwaves.com and the Surfin Perth page on Facebook, so I have started putting together a volume of exclusively surf stories.
From funny adventures to uplifting stories and a few excursions into the weird, The Surfer Alone covers every crazy aspect of the surfer’s life.
Keep an eye out – these stories will be available soon!
Nothing gets grammar nazis tearing their hair out and grinding their teeth faster, more often or more intensely than a misplaced apostrophe. It’s the punctuational equivalent of dragging one’s fingers down a blackboard, or reading anything by e. e. cummings.
There are even websites devoted to it, such as ApostropheCatastrophes, which is counterbalanced by the anarchic, if slightly satirical, KillTheApostrophe.
And I confess, for years – decades even – I was one of the fiercest defenders of the apostrophe. In particular, my outrage at seeing a plural arbitrarily and erroneously transformed into a possessive was instant and extreme.My blood boiled and my heckles prickled. Possessives without apostrophes or elided words with them misplaced just made me sad.
But these days I’m inclined to be a little more relaxed about it. Because somewhere along the line, I read a piece that explained that the original purpose of the apostrophe was indeed to denote a plural where the simple addition of an s might just have altered the pronunciation, or even just looked funny. Think potatos and tomatos, or whys and hows. In some ways, it makes sense to drop in an easy apostrophe, rather than invent a whole new spelling convention, or get used to the grating sound the pluralised word makes in your mind.
And when you learn that the possessive function of the apostrophe didn’t come along until much later, it’s hard to be too bloody-minded about its current use.
I still feel physically ill when I see some crimes against the apostrophe, but I try to chill out about it. After all, the language change’s all the time, doesnt it?
I’ve just finished reading Emile Zola’s ‘Doctor Pascal’. It’s too bad for Emile that he didn’t have beta readers who could have helped him make this into much more of a story.
‘Emile,’ they would have said to him, ‘there’s not enough action in this book. Sometimes you go on for pages and pages about one little thing, examining the same thought or feeling from a hundred different angles. Your readers won’t stand for it.’
And Emile would, perhaps, have obliged by removing all that unnecessary atmosphere, all that superfluous guff about what was in Doctor Pascal’s heart, and Clotilde’s, and Martine’s, and upped the biffo quotient, or added a few spicy love scenes. Perhaps a body could be found under the rough stones of the threshing area. Or perhaps not. Maybe he would have said, ‘thanks for your input, but the story is what it is, and I don’t think it really requires jazzing up with more gratuitous activity.’
That’s the nub of my problem as a writer, dear reader. I understand that today, everything moves much more quickly than it did before. Generations of people brought up on 30 minute sitcoms and 60 minute crime shows don’t have time to sit around delving into the thoughts and feelings of the characters in the books they read.
God forbid that the author actually burdens them with lengthy descriptions of places, people, sunsets, non-pivotal actions and subtle observations. Hell no! What readers ‘need’ is a short, sharp progression from problem to solution. Preferably with a pile of killings, conflict, chases and sex, and maybe, just maybe, the odd wry aside that doesn’t get in the way of more action, action, action.
The more things happen in a book, the less the poor reader has to work to understand the characters’ motivations, or tax their imaginations by really trying to see what the author has created. It takes away the hard work of thinking, leaving the reader, much like the TV viewer, just watching. Breathlessly, with any luck.
Alas, my work may never achieve the success I had hoped to attain when I started writing novels. My unseemly attachment to wanting to immerse the reader in the story to the point where they don’t care so much if there isn’t some sort of massive eructation of physical activity every page or two, will be my undoing. I don’t have it in me to pander to the instant gratification requirements of today’s readers. Shame.
So rather than pursue my career as an author, maybe I should spend my time more profitably pretending to have been a beta reader for some of the greats.
‘Dear Fyodor,’ I would write. ‘I like the story, but why on earth does it take so long before Raskolnikov bops Altona and Lizaveta on the head? And what is with all that maudlin reflection? Good lord man, there needs to be at least one lengthy chase.’
‘Franz,’ I would also write. ‘People just won’t buy that your man Josef K doesn’t know what he’s being arrested for. They’re still trying to get their heads around the fact that his last name is a single letter. It would be much easier for the reader if you just had him go out and strangle a prostitute at the start.’
Publishers are a funny lot. They are all looking for the next big thing. All desperate to sign the next JK Rowling or George R R Martin, make their fortunes, and be noted as the ones who found ‘the one’. But that’s not what’s funny about them. What’s funny is that although they are all dead keen to find that major talent, they are mostly so lily-livered that if it came up and slapped them in the face with a manuscript, they would quiver with fear and reject it. Unless of course the author could satisfactorily respond to the great Qualifying Question, “ah, but what is it like? Of which current bestseller is it a clone?”
Until you admit, or even proudly boast, that you’ve basically copied someone else’s idea, appropriated their style, or have jumped on the latest bandwagon with both feet, you’re on your own mate. Publishers will run a mile before they’ll take a punt on you.
History is littered with examples of genius that has been shunned, ignored and even swatted away like an annoying fly by the great powers of publishing. Richard Bach’s Jonathon Livingston Seagull, L Frank Baum’s The Wizard of Oz, and George Orwell’s Animal Farm are all works that were too different to be picked up by the wise ones at major publishing houses, at least initially.
Frank Herbert collected something like 20 rejections for his epic Dune – although nowadays he might have uttered the magic word, “serial”, and been given a crack. John Kennedy Toole committed suicide at 31, in part because he couldn’t find a publisher for his work, A Confederacy of Dunces. It was later awarded the Pulitzer Prize. Presumably Toole couldn’t answer the crucial question, “yes, but what other books is it like?”
It’s a question that could easily have stopped the authors of many a bestseller, from Ms Rowling to Mark Haddon, author of The Curious Incident of the Dog in the Night Time, to Brett Easton Ellis.
“So tell us, Brett, where do you see American Psycho in the bookshop? What would it be next to?”
As a writer, it’s irritating and degrading to have to face such a question, knowing that unless you can answer it with, “well, it’s Game of Thrones meets Harry Potter with vampires and bondage,” you’re screwed. You’re untouchable, and the very powerful implication is that your work must be crap because it isn’t ‘like’ somebody else’s.
So my advice to you, dear reader who is a writer and who has created something so utterly unique it will shatter all records and create a genre all of its own (until publishers find someone who can say, “it’s like that one – you know, that one that everybody loves right now”), is to self publish. That way, no one can reject you simply because you’ve chosen to tell a different story.
And my advice to publishers* is to stop being such bloody cowards and take a risk on a new author once in a while.
*I joke of course. As if a publisher would deign to read my blog. Unless someone tells them it’s like Jeff Goins’ blog.