I’ve read of several cases where an author bought back the rights to their book(s) after a publisher allowed them to go out of print. Most self-published them, doing a better job of promoting their titles than the traditional publisher. Other authors approach book companies trying to sell their work for a second time.
These short articles explain the ramifications of those two options:
It’s easy to see why some classic novels have endured, but I’m occasionally surprised to find books that have languished—or which spawn a cult, driving up second-hand prices.
Two good examples of the latter are Tom Neale’sAn Island To Oneself, which I’ve praised several times on Paul Pens.
His story is as timeless as Daniel Defoe’s Robinson Crusoe, so I’m amazed An Island To Oneself is out of print. Second-hand, it reaches eye-watering prices; there’s currently a copy on eBay for £105.
Another favourite read that’s no longer available new, is Twistgrip: a motorcycling anthologycompiled by esteemed motoring journalist and author L.J.K. Setright. There are two copies on eBay priced £75 and £59.99.
Had I the money, I’d purchase the rights to these two books and reprint them.
Stories need to stand out in some way to be marketed. Even if you accept that there are only seven types of plot, you can still write unique characters who do unusual things.
A modern way of describing this is having a Unique Selling Point (USP) which can also be an elevator pitch, a term used to describe selling an idea for a movie to a film producer you’ve trapped for a few seconds in an elevator. An extreme example of this is Snakes On A Plane whose title alone summed up the plot.
I write in the crime genre because I like it, and, as it’s the second-highest selling genre I stand more chance of success; also, crime stories allow me to tackle anything in society. I deliberately chose to conform to the conventions of a crime series—a set location, reoccurring characters and compelling antagonists who commit dreadful crimes. Cornwall and its landscape become a character. I explore the lives of my main character and his detectives to encourage the reader to bond with them.
Where my books differ from the mainstream, is that the Cornish Detective Chief Inspector Neil Kettle is the opposite of typical sleuths who drink, womanise, gamble, smoke and bend regulations. He’s a Green/Liberal lover of nature and the arts, who rides a 10’ long black chopper and is clean-living and faithful to his woman; I didn’t give him a love life until the fifth book. In these ways, he’s a weirdo.
Will this make him stand out enough to be successful? I’ve yet to find out. Do readers want to find a main character who’s unique, as marketers suggest?
How different is your protagonist? What idiosyncrasies do they have?
Are your stories predictable or surprising in their twists and turns? They should always be plausible.
Clawing her way back into show business, after a long period of illness, she’s started a new venture called BooksOffice with her scriptwriter friend Elaine Sturgess. Their website allows users to vote on which unpublished or self-published books should be brought to the screen.
I’ve joined and may well have a go. At least it’s a change from querying literary agents who ignore me!
We’ve looked at the business of publishing in several old threads, including the success possible by self-publishing.
I came across this article today, written by an experienced literary agent and writer called Kate McKean, which helpfully sums up the details of being traditionally published:
Whatever you think of Amazon, as a customer or as a seller, there’s no denying their power and influence. Kindle Direct Publishing is a force that would be foolish to ignore, though I resisted fully committing to them by only using their basic KDP programme, rather than the exclusive Select operation—which pays double the royalties—but is more restrictive of the writer.
As I’ve described in other threads, I was preparing to sign with Select this summer, when a publisher I’d queried asked for a full manuscript. I’ve delayed my plans to self-publish The Cornish Detective series, but have still formatted the books for digital and POD paperback release. More of that later.
This article from The Atlantic is well-researched and worth a read, as it shows how irresistible KDP is as a publisher. It used to be, that one of the supposed stumbling blocks with KDP was that a writer’s books wouldn’t appear in bookshops, other than Amazon’s own, and supermarkets and libraries, but that’s slowly changing.
There are best-selling authors on Amazon, who you’ve likely never heard of, who outsell household names and have become millionaires from their books. But, one household name, crime writer Dean Koontz recently signed a five-book deal with Thomas & Mercer, the Crime division of Amazon Publishing. A sign of changing attitudes, surely? If a best-selling author has gone over to what was once seen as the enemy of traditional publishing, then how long before others join him?
I’ve decided to join Select with the 45 titles I’ve had on KDP and distributed to other vendors via Smashwords and Draft2Digital for the last six years. They are volumes of poetry and song lyrics, for adults and children, short stories and novellas. This will be as much an experiment to find how Select works, as it is a way of raising income from sales. KDP promote Select books, pretty much ignoring those on KDP.
All of my thinking since 2013 has been geared towards publishing eBooks. I wasn’t driven by seeing my book in printed physical form. But, if I’m going with Select, it makes sense to join their print-on-demand option. This used to be called CreateSpace, but now goes by KDP Print. The transition since 2018 has not been without its problems, as I found when attempting to format my Cornish Detective manuscripts.
I started doing this as an optimistic move, some light relief from attempting to recover access to my WordPress website, which was making me mad, so when I encountered resistance from KDP Print I swore a lot!
The pages describing how to edit your manuscript to conform with requirements about bleed, margins, headers, pagination, trim size, section breaks, front matter, end matter and lots of other things you hadn’t thought of, are helpful.
When I first looked at the templates they provide I was mightily impressed, for with a bit of tinkering, I could adjust blocks of text on the cover to suit and it’s easy to upload the image I designed for the eBook as a cover.
I was encouraged by several instruction videos on YouTube, including this one, which shows how your book could look:
(Cover Creator part from 2.11)
Easy peasy, right? I followed the instructions, replacing the Latin placeholder text with my author bio and blurb, clicking on Save to move to the next step. Except, it didn’t save, it disappeared! I tried several more times, usually getting strange colourful horizontal lines instead of text, though sometimes nothing happened at all. Don’t you just love it, when sites ignore you?
Fed up with big companies that promise you the world but shove you in the ditch, I searched KDP help forums, finding that many others were also facing opposition from the templates. One user mentioned having success by switching from Chrome to another browser. I tried the template in Mozilla Firefox and it worked perfectly!
Despite this glitch, Amazon encourages a writer to produce the best-looking paperback possible, by an online preview service, and also, you can order proof copies.
Have any of you published your books on KDP, Select or POD?
As I languish in limbo, while deciding whether to go ahead with self -publishing, which I’ve been preparing to do for seven months, or to wait for a reply from The Future Bookshelf who are contemplating if my manuscript is worth publishing, I came across an outspoken answer on Quora.
The question posed was What are the hardest aspects an author has to deal with when trying to get their book published?
Michael Davies, an Australian writer, publisher and writing teacher, who answers first, doesn’t pull any punches!
In writing my crime novels, I’ve brought the last four in at about 80,000 words, though the first story I wrote ballooned to 179,000 words, entirely due to my ignorance of word counts! I’ve lopped 40,000 words off it, and as I prepare to join KDP Select I’m marketing it as a double-length story for the same price as the others. Good value!
The main reason that word counts are crucial is the cost of printing, storing and transporting books. Publishers will risk signing a book of 80,000 words, which amounts to 300-325 pages, depending on font size and formatting, but any bigger than that could see diminishing returns. Such concerns don’t apply to digital books, but an unknown writer needs to be introduced to readers in a digestible size.
I’ve read several very long novels in recent years, including Neal Stephenson’sReamde at 1,056 pages and 322,080 words. He’s just published a new novel, Fall; or, Dodge in Hell which at only 896 pages and 276,660 wordshas had some book critics calling it a short story!
Once a writer has established good sales figures, they’re allowed to sprawl. In 2019, I’ve read several crime novels of 500 + pages: John Connolly’s A Book Of Bones was 688 pages and 126,125 words, while Don Winslow’s The Border is 736 pages and 253,460 words.
I’m currently enjoying Knife by Jo Nesbø, which features his protagonist cop Harry Hole, a loosecannon with addiction issues. The plot involves his long-term life partner being murdered by a serial killer he captured who‘s been released from prison after completing his sentence. While he was incarcerated, Harry killed the killer’s son, who’d also become a murderer, so bad dad is after revenge.
Nesbø devotes many pages to exploring Harry Hole’s thinking. After reading an eight-page chapter in which he ruminates on life, love, faithfulness, the rock music he’s listening to and the alcohol he’s drinking, I considered how much space I’d permit my detective protagonist to do something similar. It wouldn’t be more than half-a-page, as I’m so aware of hitting the 80,000–word count.My hardback copy of Knife is 530 pages long, some 147,465 words, according to the reading length website:
I’d like to do more of the same. I feel constrained by80,000 words. In writing a series featuring the same characters, I’ve attempted to bond the reader with them, which could be better done with more space.
Of course, should I decide to go ahead with self-publishing on KDP Select, I can write books of whatever length I like, without the interference of a literary agent and publisher. Such temptation requires restraint.
Do you feel like you need more space to tell your stories?
The PDF download is larger and easier to read with a magnifying glass feature.
One of the biggest changes I’ve noticed in the last six years is the attitude of big publishers towards eBooks. In 2013, those companies that issued a digital version of a print book, priced it the same or even more expensive, even though it cost them virtually nothing to store and distribute—unlike hard copies, which need warehouses, lorries and staff to handle. It almost felt like the Big 5 still secretly harboured a hatred of eBooks and were trying to kill them off by making them unaffordable.
More recently, several long-established publishers have opened imprints to promote digital sales, staffed by experienced and enthusiastic marketers. They often publish genre fiction by debut authors, which looks commercial but is still too risky to send to the printers. I think they’re still charging too much, which is why staying Indie is attractive to me, as I can ask as little as £1.99 on KDP Select to lure readers. Changing the price is as easy as a few mouse clicks. I can give my eBooks away for free for five days of every 90-day contract, to help promote sales. I haven’t heard of any mainstream digital publishers who’ll allow this.
Adrian McKinty deserves his success. What depresses me about his story, is how, despite winning numerous writing awards, he was neglected by publishers.
It sometimes seems to me that book companies detest their clients, failing to promote their books on the basis that they haven’t made enough money—and why should they do anything to rectify the situation?
Shane Salerno, the agent who turned McKinty’s life around, is a real powerhouse:
As I emerge from reclusiveness, to share myself and my crime novels online, it occurred to me that part of my self-promotion campaign should include personal appearances.
From reading how debut authors achieved success, one of the best ways of getting anywhere is attending literary festivals and residential training courses. It’s not as if writers, editors, literary agents and publishers wander around looking like their job or wear helpful placards hanging from their neck.
The second question commonly asked, after learning a stranger’s name, is: “What do you do?” I’ve long referred to myself as a writer, simply because it’s what I’ve done more than any other job. It’s how I’ve thought of myself, even when working in a factory, as a dispatch rider, teacher and librarian.
After being a hermit in a hovel for ten years, I’m pondering on how to be a public performer. I’m a long way from being shy—and the world of books is genteel—but how do I infiltrate it? Maybe my ambition is showing on my face, somehow, for three unexpected incidents yesterday set my brain whirring.
Firstly, I bumped into an old lover. She lives locally and though we don’t socialise, we’ve chatted amicably enough on the street. Back in 2013, when I mentioned to her that I was returning to creative writing full-time, she was dismissive, saying I’d never make money at it—which I already knew would be hard. Puzzled by her negativity, I later recalled she’d written a memoir that she couldn’t find a publisher for. This time, when she asked about my writing, she was joyful and encouraging that I’m going to begin self-publishing my Cornish Detective series this summer. A pat on the back beats a kick up the arse, so I felt buoyed up.
I wandered into the library. The assistants know I’m a writer and have been helpful offering advice about Cornwall Libraries policy on buying books by local authors. I’ve shared some of my experiences about querying agents, editing, blogging and putting myself out there on social media. The librarian smiled at the requested titles I’d come in to collect, which were three books in the ‘For Dummies’ series about Facebook, Instagram, GoodReads and Twitter. Although I’ve used social media for twenty years, there’s a big difference between being a casual surfer and using it to run a business. She asked if I’d be interested in talking to their readers’ group, which meets once a fortnight to discuss a set book. Sure, said I, panicking about how to describe being a writer without sounding like a merchant of doom!
Wondering if my status as a writer could grow from grassroots, I went to shop for food at the Co-Op supermarket. At the till was an employee I’ve talked to about writing. When writing my last novel, which features thieves who use a bulldozer to steal the ATM from the foyer of that very supermarket, I’d spent time eyeballing the security cameras and monitor screen hanging from the ceiling as a deterrent. The assistant looked at me suspiciously, as if I was about to rob the place, so I explained why I was being nosy.
Since then, we’ve chatted about writing and publishing, as she totalled my bill at the till. I said I was about to self-publish the first two novels, whereupon, she asked for my profile name on Facebook, offering to promote my crime series via several book groups she runs. I was very surprised. I’m hopeless at asking for help, preferring to assist others, so receiving three boosts to my efforts inside an hour gladdened my heart.
I’d better get on with things. People think I’m a writer, even I feel like I’m a bumbling impostor at times.
How do you handle being a writer with your family, friends and the public?
