Readers, how would you like to get emailed a handful of ebooks custom curated for your unique genre preferences?
By Victoria Dougherty:
Thank God for Indie Publishing – it is my opinion that we are far better off with it than without it. Is there a wider range of quality – undoubtedly. There are authors who are amateur, don’t properly edit their work, and put out a shoddy product. But I think that for the practiced reader, those are pretty easy to spot. All you have to do is have a look inside the book and read a page or two – which Amazon is very generous about. By and large, the real stinkers sink pretty quickly, too.
And you know, even if they don’t and there’s a market for the work… so be it.
(click on the cover to read on)
Indie publishers are slowly coming to realize the importance of an amazing book cover. Since many self-publishing authors are starting out on a very small budget however, homemade, DIY book covers are still a popular choice. But be forewarned: although book cover designs come in a wide variety, publishers consistently use reliable, time-tested techniques and guidelines to catch your attention and make the sale. You want your cover to be different and unique, but you also want to tick all the right boxes (because they work).
(Click on the image to read on)
By Robert Duran:
“There exists a common misconception that if your manuscript isn’t in great condition, it needs a structural edit; if it is in reasonable condition, it needs a copy-edit; and if it’s in pretty good condition, a proofread is all that is required. Well, I have some bad news. The truth is rather different, and it goes something like this: every manuscript needs all three, because each of the three contributes something distinct and valuable to the project. OK, Ian McEwan or John Banville will get away with skipping the structural edit, but there are very few manuscripts that wouldn’t benefit from one.
Click on Catherine’s banner to read on-
I had a daydream the other day. I was working on a mindmap. (Do you know what a mindmap is? Until quite recently I was woefully ignorant of this incredible organizing tool. More to come.)
The title I had given the mindmap was “Simple Steps to Self-Publishing Success.”
(Click on the image to read on)
After this one article, I’m a fan
By Beth Bacon
In the digital book marketplace, individual authors fight in the same ring with legacy publishers. The big publishers have an advantage: the power of their reputations grabs the notice of readers. Indie authors and publishers struggle for any attention at all. The “little guys” can overcome this disadvantage if they build their careers around three strategic pillars: brand curation, relationship marketing, and, finally, creating quality books.
Click on Digital Book World’s Logo to read the rest…
I blame my parents for my love of reading, but I blame Scott Berg’s biography of Maxwell Perkins (Max Perkins: Editor of Genius) for my desire to become an editor. Fitzgerald! Hemmingway! Thomas Wolfe! Encouraging one novelist to drink less and write more; massaging the ego of another; wrestling the wild imagination of a third into readable form. Was Perkins a collaborator? No. Cowriter? Absolutely not. But he was an invaluable “second eye,” trusted sounding board, and gentle critic. It sounded to me like my true calling. But in my time, editing for a publishing house wasn’t quite so simple.
A publisher once said to me, almost in passing, “We don’t pay you to edit.” The real message was: “Editing is not crucial. If you’re an editor, what matters is acquiring.” After I’d left in-house editing and was being courted by an agency, the owner/agent said to me, “Remember, you can’t sit in your office and edit.” In other words, “If you’re an agent, what matters is selling.” One thing these comments imply is that editing is no longer the editor’s main function; editing is done on your own time. But that has been true since I went into the business 28 years ago.
As a freelance editor, these models no longer apply to my work. I no longer have to jump on every promising submission overnight. I no longer need to be looking over my shoulder, hoping for the approval of the marketing, publicity, and sales departments. I no longer have to determine the worth of any particular project a year before publication (and we know how often publishers get that right!). The burden on the freelance editor consists solely of helping the author write his or her best possible book.
Click on Marjorie’s image to read more…