Guest blogger: Mattie Gorman

There are many rules of good writing, but the best way to find them is to be a good reader.—Stephen Ambrose

As a result of my recent studies at the Denver Publishing Institute 2010, I reached a deeper understanding of areas that I already knew a little about such as: editing, proofreading, book design and book marketing. I also became exposed to areas of the business that I knew nothing about—the creation of a book, magazine publishing, subsidiary rights and copyright laws—all things that are incredibly important when joining this business. But, the most important thing I learned, which I will never forget, is the importance of reading, reading a lot, and reading everything. 

I have always been an avid reader and also a writer on the side, so it was good to hear that I was on the right track. I learned that, as readers, we pick up certain grammar and punctuation rules that can be very helpful to know when editing your own work before submission to an agent. This is especially important if you are submitting a work of fiction. Novels, when submitted to agents, need to be as perfect as the author can get them for the novels to be accepted (99.9 percent of the time). It is also very important that writers read anything they can get their hands on, be it blogs, newspapers, magazines and books,  and step out of your comfort zone because the more you read, the more you learn.

So here’s the advice that I have to offer for writers, new and old, looking to improve their craft…. It’s always a possibility to contact a writing coach, but I think that the best way to get something done is to do it yourself. So, start reading books in the same genre of your writing. It’s possible that you will be able to revise your own writing based on your new-found knowledge. Then, start reading everything else and take what you learn to apply to your work. Who knows what could happen? I think that no person should discount the option of joining a writing group, either. This is a great way to get instant feedback on the work you’ve done, but to also read stuff that hasn’t been published that you may not have access to otherwise.

So basically, all I have left to say is… Read!

Note: Mattie Gorman is a recent graduate of the prestigious Denver Publishing Institute. She also has a Bachelor of Arts degree in English professional writing and book publishing from the University of Wisconsin–Whitewater. She has varied experience, including stints as interns for the East Troy Times and Congressman Steve Kagen. As a new intern for Self-Publishing Resources, she has much to offer. Hopefully, I can teach her a thing or two as well. — Sue

I’ve got a new post for today, and it’s from a guest. Another project I’ve been working on recently is getting an internship program started. I was lucky enough to get a great response from an ad I posted with the Denver Publishing Institute, and I’ve got a couple of young people (I know, that makes me sound really old — but hey, I am!) starting with us. I had them do an initial “assignment” of writing a blog post for me; I was curious what they’d come up with. So here’s the first; I hope you enjoy these fresh new voices!

Guest blogger: Chad Hamilton

It has finally happened. I have been birthed into the world of publishing—and what a wide, blurry world it is.

Nearly two weeks ago I graduated from the Publishing Institute at the University of Denver. It was an intensive, four week course designed to give recent college graduates a crash-course in all things publishing. The once-a-year program primarily churns out future editors for large publishers, and so the curriculum is heavily weighted toward that goal. Yet for those of us who did not swoon at the romantic notion of reading manuscripts well into the night, every night, there were a plethora of other topics covered. From the role of the editor to the subsidiary rights department, we were exposed to nearly every step in the publication process of large and independent publishers of all types of books.

Yet, despite all of the recent growth and future growth potential—self-publishing was not covered. So how have I ended up writing this guest blog for Self-Publishing Resources?

I am a baby in the publishing industry. Though I have been given a head start with experience working for a print production facility, and having attended the Publishing Institute, I have years of proving myself to do. Frankly, I am scared to choose a particular area on which to focus: be it public relations, marketing, editing, or anything else in publishing.

With the industry in flux, the last thing I want to do is specialize in an area that may soon become obsolete. There will always be editors, marketing departments, and PR people to help get the book out, but the traditional ways of doing those things are changing. I am afraid that I will spend my “proving” years learning the wrong processes and that at some point in my career I will have to start over, or worse yet, become obsolete myself.

Self-publishing seems like the perfect opportunity to learn various processes, to remain flexible and open to new emerging opportunities, and ultimately to remain valuable to the publishing industry.

I believe these are some of the same reasons why authors are choosing to self-publish. After all, where to publish is a critical career decision for a writer as well.

Note: Chad Hamilton is a recent graduate of the prestigious Denver Publishing Institute. He also has a bachelor of arts degree in English and creative writing from Colorado State University. His present position as leadership development associate for a publicly traded printing company gives Chad an excellent overview of the production end of publishing. As a new intern for Self-Publishing Resources, he has much to offer. Hopefully, I can teach him a thing or two as well. — Sue

I’ll start by saying that I am not the average person who has no idea what lurks in slush. I spent many years in the trade, going through those very awful slush piles that blogger writes about. And it’s true; there is some real crap out there. And everyone does not have a book in them.

That said, this does not mean that every acquisitions editor working for a major publishing house would know slush if it came in a cup. There is plenty of junk out there that is sitting on the bookstore shelves right this second. Some of it is written by bestselling authors or celebrities, ie, the publishing companies know it will sell. To imply there is some rigorous high standard that always goes along with book publishing is untrue. It’s about money, pure and simple. For most houses, there is no loftier goal than publishing what will make money—regardless of whether it is crap or not.

I fully agree with this, from the article: “I do have to say one thing in defense of self-publishing: it is a very useful tool for people who have a niche audience or their own book sales channels. Ideally, both. Most traditional publishers may not do ‘niche’ projects (not a large enough target market to justify general trade publication).” But may I also add that traditional publishers today are also looking for authors who have a built-in platform—before they sign the contract. Because the reality is that most trads do little to promote their mid-list authors. It is primarily up to the authors themselves.

I also don’t believe that every self-published author believes The Man (as Kidlit refers to the trads) is holding them back so they must “settle” for self-publishing. There are plenty of savvy authors out there—check out indie author and publisher Zoe Winters, for instance—who realize the odds are not in their favor. It isn’t because their work isn’t “ready”; it’s simply because there are a finite number of books being published by traditional publishers. As publishing houses have gobbled one another up in recent years, there are even few opportunities to be published. It isn’t about feeding the ego by getting a “stamp of approval” from The Man for these authors; it is about sharing their message. And if you truly have something to say, wouldn’t you rather have a few people hear it rather than none?

I think it’s misleading to tell writers that when your manuscript is just as perfect as perfect can be, you have a very good chance of being picked up by a traditional publisher. I think that’s overly optimistic. My husband’s heavy metal band is very good—all members of the group are accomplished musicians—but the reality is that they have virtually no chance of being picked up by a major record label. They know that. But it doesn’t stop them from wanting to be heard anyway.

“I’m only interested in people who grow, learn, polish, adapt, and set their sights on the difficult goal of traditional publication. It’s hard for a reason. Not everybody gets to do it.” What about the indie music scene? Should my husband’s band not put out their own CDs because they are pining for some major label to sign them? What about indie movies? Are they any less of an achievement because they are not produced by some major film company?

“But most people who self-publish don’t have a niche book or a good marketing strategy: they want to target the mass market. They have a project that would appeal, in their opinion, to everyone and anyone. And self-publishing a book intended for a trade audience is where these would-be authors get in trouble. Because reaching a mass audience — casual readers — with a self-published fiction project is nearly impossible.” I say there are plenty of self-published authors who go into it with their eyes wide open and their expectations realistic.

It’s unfortunate that with the advent of the so-called “self-publishing companies,” such as Author Solutions and Lulu, way too many people dive right into “self-publishing.” (Incidentally, this is usually “vanity” or “subsidy” publishing, which has somehow become lumped in with true self-publishing wherein authors set up their own imprint and have their own ISBN under which to publish books.) I have a real issue with these cookie-cutter, assembly-line service providers who enable authors to publish their slush on the cheap. Would I consider publishing these books an “achievement”? Not usually. Do I consider truly self-published authors who work hard writing a good, salable manuscript; have it critiqued and edited by professionals; and have the book well-designed as having achieved something? Absolutely.

Yes, there are those who “who don’t believe what editors and agents keep telling them: their work isn’t ready”—or that their work is just bad. I say, let those people go publish with Lulu. Their book will be available on Lulu.com, where approximately zero people actually go to buy books. What I’d like to see is the true self-published authors not denigrated for what they’ve done—because it is a real accomplishment.

Traditional publishing is not exactly known for embracing change (anyone want to talk about the fact that returns are still allowed?!), but I think maybe The Man is going to have to adjust his way of thinking whether he wants to or not.

(Cross-posted at the Writer’s Digest website.)

But the more I thought about it, the more annoyed I got. His condescending and disparaging view of “self-publishers” started to tick me off. First and foremost, the “self-publishers” to which he is referring are really authors who are going the vanity press route. And those pay-to-publish authors have been mostly scorned from the very beginning. Clearly, Keillor does not understand the traditional self-publishing model, wherein authors start up their own imprint and spend quite a bit of time and money to make sure the book they produce is top notch. These authors often hire companies that provide author services (note that this is quite different from pay-to-publish) to ensure their manuscripts are well edited and their books well designed. (Shameless plug opp: Yes, services such as Self-Publishing Resources.)

Second, he is clearly assuming that all self-published authors go that route because they were not “good enough” for the trads. Nope. There are many good reasons to self-publish, including maintaining creative control, making more money (yup, making more money), and producing the book more quickly, to name a few. And heck—you’re going to have to market and promote your own book anyway (the trads won’t do it for you!)…you might as well be in charge of the whole process and pocket all of the profits from your efforts.

Is a manuscript better just because you “mailed it to a New York publisher in a big manila envelope with actual postage stamps on it”? Because you typed it on a typewriter? Because you enjoy an “aura of martyrdom”?  All that sounds kind of romantic, but the past is the past.

I do agree that there is a lot of crap out there right now, but most of it falls within the subsidy press category. Once people begin to understand the difference between vanity publishing and independent publishing, I think (I hope!) that will begin to change and we will see more thoughtfully produced books. As more and more book review sites begin to cater to self-published authors (whether they are pay to publish or truly self-published), even if they are not the New York Times, I believe honest reviews will start to separate the wheat from the chaff. One thing I do know: Self-publishing is not going anywhere. Neither is the Internet. Or the cell phone. Or the microwave.

And does anyone else find it pretty ironic and kind of hilarious that Keillor’s article is surrounded by ads about self-publishing??!!

 Authors: Joe Gregory and Debbie Jenkins

 Publishing Academy, 2009

Back cover synopsis: Renegade publishers, Debbie Jenkins and Joe Gregory, share their hard-won experience to show you exactly how to make a fast and impressive income as a non-fiction author in six easy-to-follow steps. This book obliterates the outdated “truths” of the publishing business and shows you what it really takes to succeed in the new publishing economy. Whether you’re a budding author looking for your first break or a published author wanting to take your sales, profile, and income to the next level, you’ll love what you’re going to learn when you read this book.

Traditionally published and self-published authors alike will benefit from this handy guide. It provides a realistic plan for authors who truly want to sell books and make money. I enjoyed the irreverent tone of this easy-to-read book.

Divided into six practical steps, the first three cover coming up with a winning book idea and then getting it down on paper. Even those with a book already in hand will benefit from the tips on creativity, including the WWWD (What Would Walt Disney Do) approach. Word association and Mind-Mapping are also discussed at length. If you don’t already have a finished manuscript but just an idea, this chapter will help you determine whether or not it has bestseller potential.

Step four thrashes out the options for getting your book published. The authors go over the pros and cons of traditional publishing, self-publishing, and subsidy/vanity publishing. (I think my favorite line in the whole book is “I’d basically said, ‘Vanity presses are a complete waste of space!’”) They weigh-in highly in favor of self-publishing for nonfiction books, and they explain why—basically because authors retain intellectual control and they have the potential to make a lot more money this way. The practicalities of self-publishing are also covered, such as obtaining an ISBN, using Lightning Source as a printer, and getting distribution.

Final chapters get into the specifics of “selling loads of books.” There are a lot of lists (the authors seem to favor these and they are peppered throughout the book), such as “3 Reasons Why Brick and Mortar Stores Aren’t Worth It,” “5 Reasons Why Self-Publishers Should Focus On Selling Through Online Bookstores Instead,” and “44 High Impact Book Marketing Tactics That Work.”

Final sections of the book list useful publishing and promotion links, as well as a bibliography. Although the table of contents is quite extensive, that does not take the place of an index, which the book doesn’t have. I am a strong proponent of all nonfiction books having an index.

This book should be on the shelf of every author who wants to make money instead of mistakes.

1. Provide a local angle. Set your story in a real place. People who live in the area love to read about restaurants, amusement parks, streets, landmarks, etc. they know. And if you set your story in your own area, it simplifies promotion greatly. You can easily spin the local PR, then let it ripple outward regionally, then nationally.

2. Carefully evaluate your main characters. Does the protagonist have an interesting profession or hobby you can use as a sales hook? One novelist I know sold her book in spelunking shops because caving was the avocational pursuit of her main character. Another merchandised her mystery in Volvo dealerships. Why? Because that make of car played an important role in the story.

3. Revolve your story around an important “issue.” Add an aspect to the plot that addresses something newsworthy. If there is a dominant thread that deals with a timely topic, you may be called upon when a fast-breaking news story hits. Topics you might consider, for instance, are Internet privacy, battered men, terrorism, fetal tissue, obesity, or Medicare woes. You get the idea. By the time you’ve written at length on the subject, you will become an “expert” on that topic. Monitor the news each morning for references to your theme, then immediately piggyback on it with emails and faxes to the media.

 As a fiction writer, you can greatly impact the marketing potential of your book. Use the guidelines above to write a savvy book. Planting interesting angles during the creation process opens doors to lucrative results when your finished book comes out.

Editing and Proofing

Developmental Editing. Understand that a developmental editor is not the same as a peer reviewer. I can tell you from my observations that they are not catching overall writing problems, and this is not the job of a copyeditor either. Whether you use me or someone else for developmental editing, it will be expensive but it will improve the overall read and feel of your writing. Even while your writing improves over time, you cannot expect it to be perfect–ever; that is just the nature of writing. I never depend on myself for my final edits but rather I send my work through one and often several professional editors at whatever cost to me.

Proofing. Always proof your work after completing it. It will save your editors and layout people time and will save you money.

Ellipses. Rules for ellipses are well defined. The Chicago Manual of Style defines the grammatical use as follows:

• To indicate text missing from within a sentence, put a space before the first ellipsis, after the last ellipsis, and in between all ellipses. “The author…wanted all writing to be clear and concise.”
• To indicate text missing from the end of a sentence, do not put a space before the first ellipsis, put a space in between all ellipses, and add an extra one at the end to indicate the final period. “The author demandingly wanted all writing to be clear….”

Gender-Specific Language. Avoid gender-specific language if possible. I prefer the “compromise” of alternating the use of “he” and “she” throughout a document rather than “he/she,” “he or she,” “(s)he,” or “s/he.”

Glossaries. Consider using them; glossaries are a great help for obscure terminology. They are as helpful, if not more so, than an acronym list.

In-text References. Always ensure that in-text references to book or article titles as well as Web site URLs are accurate. Incorrect references should never appear in a publication. Developmental editors and reference checkers catch these in the book and periodical publishing field, but when you are publishing your own materials you will either have to be extremely thorough and double check all material or pay someone else to do it.

Keep Verb Forms Together. Watch out for splitting verb forms. Opt for “also will be responsible for” over “will also be responsible for,” unless it is extremely awkward when the former is used. 

Knowledge Base. Be careful when writing about any topic in which your level of experience may be limited. Your knowledge base appears to have increased by about 300 percent since I have known you (not to mention the increased development in your writing style), but none of us are perfect. If I, as your editor, question some of your statements because my research shows different outcomes, others will question your authority as well. (In all fairness, though, understand that it simply could be a matter of sources that are referenced.) And this could not be good for your reputation or book sales. If you are unsure about a certain technology or industry, research as much as you can. It is labor-intensive and time-consuming, but you cannot expect to get complete and accurate information by asking a couple of people. Plus, other specialists and experts do not necessarily have the time nor the inclination to do your research for you anyway.
   Lists. If the listed items are in a hierarchy, use numbers or letters; otherwise, use some sort of bullet.

Microsoft Word Tools. Do not depend on spell check or grammar check. Know how to research spelling and grammar issues since Word tools often recommend incorrect changes.

Noun (Subject)/Pronoun Agreement. The old school was to always have these agree such as “Every writer must have his or her way.” Today, it is becoming more acceptable to write, “Every writer must have their way.” 

Numbers, Writing. For numbers, follow the under 10 rule, i.e., spell out numbers if they are under 10, except for time, measurement, and money. Also, if three numbers are used in the same sentence, use whichever style outnumbers the others. For instance, you would spell out for “the contestant won 6, 11, and 15 times in a row.” Note how “6” is under 10 and normally would be spelled out, but the number is used since the other two numbers are over 10. If you decide to follow the ninety-nine and below rule where numbers are spelled out, be consistent. (Keep in mind, though, that numerals are nearly always used with percentages and measures.)