How to identify a vanity press publisher and avoid being ripped off

By Narelle Atkins

Vanity Publishing

Vanity Presses make their money from authors rather than from selling books. They charge authors a fee, either directly or indirectly, to publish their book. They often try to up-sell additional publishing services eg. marketing packages. These publishing packages, sometimes marketed as self-publishing solutions, may cost authors many thousands of dollars.

Vanity Press books sometimes have a high cover price, which makes the vanity press book less attractive to readers. The vanity publisher has already made their money from the author, and they don’t have an incentive to set a competitive price and sell a high volume of books. The author has no control over the pricing of their book or the distribution of their book.

Vanity Presses often don’t invest time and money in providing professional cover art and editing is typically an add-on, with an additional fee. They have no incentive to produce high quality books because they make their money from selling publishing packages to authors instead of making money from selling books.

Vanity Presses will advertise their publishing services and actively seek to recruit authors.

Traditional, royalty paying publishers are inundated with submissions from authors. Many of the larger traditional publishers will only accept agented queries because there is an oversupply of potential manuscripts and a very limited number of traditional publishing slots. Traditional publishers have budget limitations that will dictate the number of books they can publish each year. They are selective because they are bearing all the financial risk. Vanity presses, by charging authors a fee to publish, are shifting the financial risk to the author. If the vanity press book has poor sales, it's the author who will suffer the financial pain, not the vanity press.

Vanity Presses may operate like telemarketers who are selling a product. They may want to know a prospective author’s contact details, including email addresses and phone numbers, to enable them to follow up and contact authors. They may make numerous international phone calls to prospective authors and use aggressive marketing tactics to try and sell their expensive publishing packages.

Differences between Traditional Publishers and Vanity Publishers

Traditional publishers pay a competitive royalty on every book sold.

Traditional publishers don’t ask authors to contribute money to finance the book production process.

Traditional publishers may pay authors an advance against future royalties. The money flows from the publisher to the author because traditional publishers make their money from book sales.

Traditional publishers don’t require authors to purchase a minimum number of books.

Publishing Contracts

A publishing contract is a legally binding document. It spells out the rights and obligations of both parties who sign the publishing contract. A publisher may claim to be a traditional publisher, but it’s the contract that will define whether or not their claims are valid.

All authors should seek professional advice and do their research before signing a publishing contract. Intellectual property lawyers, Australian Society of Authors, Australian state and territory Writer Centres, and professional writing organisations can provide services and resources to assist authors in making financially savvy decisions.

Kristine Kathryn Rusch has written a number of helpful articles on publishing contracts. 

http://kriswrites.com/2011/05/04/the-business-rusch-advocates-addendums-and-sneaks-oh-my/
http://kriswrites.com/2011/07/27/the-business-rusch-deal-breakers/ 

The Passive Voice blog also has archived posts that provide helpful information for authors on publishing contracts. 

Do not rely on general advice and hearsay from writing friends to determine if a publishing contract is a good deal for you

Once upon a time it was reasonable for writers to assume that most traditional publishers used a single boiler plate contract as the foundation for their contract negotiations with authors. The larger writing organisations eg. Romance Writers of America, ACFW, used to provide their members with a recognised publisher list. 

The writing organisations looked at the boiler plate contract of each publisher who wanted to be included on their recognised publisher list. To make the list, the publishing contract needed to meet certain minimum standards. A publisher would be excluded from the recognised publisher list if their boiler plate contract contained any vanity publishing clauses. 

But times have changed. It’s now becoming more commonplace for publishers to offer contracts to their authors with vastly different terms. The writing organisations no longer have recognised publisher lists. Indie publishing opportunities can potentially offer authors a better deal than a traditional publishing contract. 

Why can't you rely on advice from your author friends? Your friend may have signed a traditional contract with Publisher A and be very happy with their deal. But, that doesn’t mean Publisher A will offer you exactly the same publishing contract deal with the same terms. 

Authors can't afford to bury their heads in the sand and assume that a publishing contract will be a good deal. It's essential for all authors to take responsibility for their writing careers and understand all the clauses in their publishing contract before they sign the contract.   

The term ‘self-publishing’ has been hijacked by vanity presses

Self-publishing should mean DIY (doing it yourself). This is a very different concept to paying a publisher to partner with you to produce your book. If you are giving the publisher specific rights to publish your book, and if the publishing contract includes terms that specify the payment of royalties to the author, then you are signing a publishing contract. This is a very different proposition to self-publishing by DIY.

Indie (independent) publishing

Indie publishing is the term that is commonly used to describe authors who independently publish their books. Indie authors retain control of their copyright. Indie authors produce their own books independently and they don’t sign a contract with a publishing house. Indie authors are self-publishing because they are doing it themselves (DIY). They may choose to contract service providers for a set fee eg. editing, cover design, formatting, to produce their book.

How can you avoid being ripped off?

Education is key. Do your research and connect with other writers before you sign a publishing contract. Ask questions and seek advice from industry professionals. Book selling is a tough business and it’s very unusual for an author to recoup the money they have invested in vanity publishing via book sale royalties.

Online resources for writers

Preditors and Editors
http://pred-ed.com/peba.ht 

Writer Beware
http://www.sfwa.org/other-resources/for-authors/writer-beware/ 

David Gaughran
https://davidgaughran.wordpress.com/2015/04/29/author-solutions-and-friends-the-inside-story-2/ 

The Book Designer
http://www.thebookdesigner.com/2015/10/author-alert-is-your-book-held-hostage-by-a-subsidy-publisher/ 

Iola Goulton has written a number of posts for Australasian Christian Writers that address the topic of vanity presses

I Wanted to Cry 
http://australasianchristianwriters.blogspot.com.au/2015/01/i-wanted-to-cry.html 

Spotting a Vanity Publisher - Part One and Two http://australasianchristianwriters.blogspot.com.au/2015/01/spotting-vanity-publisher-part-one.html 
http://australasianchristianwriters.blogspot.com.au/2015/01/spotting-vanity-publisher-part-two.html 

Deception in our writing http://australasianchristianwriters.blogspot.com.au/2015/02/deception-in-our-writing.html

Jeanette O’Hagan has written two posts for Christian Writers Downunder that outline the different publishing models available for writers

Publish or Perish – Part One and Two http://christianwritersdownunder.blogspot.com.au/2014/08/publish-or-perish-part-one.html http://christianwritersdownunder.blogspot.com.au/2014/08/publish-or-perish-part-two.html

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This post is being shared on the Australasian Christian Writers blog and the Christian Writers Downunder blog today because we are united in our mission to inform and educate writers on the pitfalls from signing with vanity publishers. This was a topic of conversation at the recent Christian Writers Conference held in Victoria, Australia.

Please share this post with your writing friends on social media and bookmark it for future reference.

If you’re looking to connect with writing groups online, you can join the Australasian Christian Writers Facebook Group and the Christian Writers Downunder Facebook Group.

Omega Writers Inc. provides helpful resources and membership benefits for writers who live in the Australasian region.

A fun loving Aussie girl at heart, Narelle Atkins was born and raised on the beautiful northern beaches in Sydney, Australia. She has settled in Canberra with her husband and children. A lifelong romance reader, she found the perfect genre to write when she discovered inspirational romance. Narelle's contemporary stories of faith and romance are set in Australia. In 2013 she sold her debut book to Harlequin's Love Inspired Heartsong Presents line in a 6-book contract. Her first independently released novella, His Perfect Catch, is available from Amazon for 99 cents. 

Website: http://www.narelleatkins.com

Blog: http://narelleatkins.wordpress.com
Facebook: https://www.facebook.com/NarelleAtkinsAuthor
Twitter: @NarelleAtkins https://twitter.com/NarelleAtkins

Publish or Perish? Part Two

By Jeanette O’Hagan

In Part One of ‘Publish or Perish?’ we looked things to consider in the journey to publication and the pros and cons of traditional publishing. In the not-so-distant past, traditional publishing was basically the only way forward except for the dubious route of vanity publishing.  With the advent of the World Wide Web, e-books, Amazon and print on the demand (POD) technology, the publishing landscape has changed dramatically in the last couple of decades. On the one hand, writers don’t have to wait around like wall flowers waiting for a publisher to offer them a contract if they are prepared to go solo. On the other hand, because the market has become so tight, traditional publishers do less for their authors and expect them to be actively involved in platform building, marketing and promotion.

So what about the other options?

The Vanity and Subsidy Publishers

Some publishers will offer to publish your book for a price (a co-payment). As with a traditional publisher they will negotiate a contract for the rights of your manuscript and in return will pay you royalties. However, they will also ask you to pay upfront a portion of the costs in producing the book and/or may ask you to commit to buying a certain number of books (10, 100, 500, 1000 etc).

The difference between a vanity and subsidy publisher is that a vanity publisher generally charges exorbitant prices and often gives shoddy results in return (e.g. poorly edited work, terrible cover design or low quality materials). Vanity publishers make their profit from the money authors pay them, not by selling and distributing books. So they have little incentive to promote your book.

Some small publishers offer co-payment as a way of reducing their financial risk and to assist in publishing more authors and titles. A true subsidy publisher offers genuine services (such as thorough editing, good cover design, some form of promotion and marketing) at reasonable prices and, often, with access to a distribution network.

It may, at first glance, be difficult to tell the difference between a vanity and a genuine subsidy publisher. If in doubt check out websites like this and this on scammy publishers, ask around about the reputation of the publisher and/or look at the quality of the books it produces. Always check the proposed contract for gotchas. Don’t sign a blank cheque.

Vanity and Subsidy Publishers
Pros	Cons
Generally the publisher may be anxious to accept your manuscript – especially in the case of the vanity publisher – this may be despite of the quality of your work.	They require a substantial up front co-payment and/or a commitment to buy a certain number of books (often regardless of the quality of the finished product).
Publisher arranges editing, cover design, typesetting, printing and possibly distribution.	Despite paying upfront (sometimes an exorbitant amount), the publisher probably still gets a cut of ongoing profits (your royalties).
Publisher may provide some marketing and promotion – though this may be little more than a listing on their website. Make sure you know what they offer.	Your work may be poorly produced and/or the publisher may have a bad reputation.
Publisher may have access to distribution networks.	You will need to do your own marketing and promotion if you want your book to be successful.
It may be a less expensive option than self-publishing (then again, it may not!)	While you have some degree of creative control, this is limited. Some publishers can be inflexible on issues such as price or the format of the book.
	You may be locked in with this publisher even if the book is a disaster or it is not selling, preventing you from seeking other publishing options.

Subsidy publishing may suit you if you have a good manuscript which you want to get published sooner or a manuscript aimed at a niche market where you have good contacts (a hobby group, a family history), or a sizeable platform. You are prepared to pay something up front but would like to rely on the expertise and experience of the publisher.

You need to be very wary that the subsidy publisher is not overcharging for their services, is inflexible or has unfavourable contracts that are hard to get out of and/or will give you an inferior result. Buyer Beware.

Indie or Self-publishing

With self-publishing, the author takes the financial risks and retains full rights of their manuscript. Using their own capital, they contract different services required to produce their book – such as editing, cover design, ISBN numbers, barcodes, typesetting, formatting, library rights, printing, promotion, marketing and distribution. They also receive all the net profits on the book (if it makes any).

This model has become more accessible with the advent of e-books and Print on Demand (POD) services like CreateSpace or LightningSource. Also companies like Book Whispers or BookCoverCafe will guide authors through the process of Indie publishing and/or offer different services.

Indie or Self publishing.
Pros	Cons
You don’t have to wait (sometimes for years, maybe never) for a publisher to accept your manuscript. You publish when you are ready to publish.	You pay all the costs involved in publishing your book upfront – this can vary depending on how much you are willing to invest. The more you invest (wisely), the more likely you are to be successful but the bigger the financial risk you take.
You receive full net profits and a higher cut from Amazon for your e-books.	You arrange everything, from editing, cover design, typesetting, ISBNs, barcodes, printing, promotion and distribution.
You have full creative control and flexibility.	You may lack experience and expertise in the industry and knowledge of the market.
You retain full rights on your manuscript.	You will need to do all your marketing and promotion. Having or building a ‘platform’ is vital.
You can join distribution or promotional networks for indie-publishers like John  3:16 Marketing Network	It is much harder for self-published authors to gain access to the big bookstores, including Christian bookstores like Word or Koorong.
Print on Demand (POD) means that you don’t have to print off thousands of print copies that don’t sell. You can print smaller numbers or at the request of the buyer.	You need to understand all the financial aspects of the process, including taxes, getting exemptions for US taxes, maybe setting up your own tradename, etc. Essentially, the ‘buck stops with you.’
Self-publishing has less of a stigma than it did in the past.	Some reviewing sites, groups, awards etc don’t recognise self-published works.
Many indie-authors are successful though they often have multiple titles or built their name through traditional publishing.	Covering all sides of the publishing business means that you may have less time for writing.

Self-publishing may be for you if have a good or outstanding manuscript that is timely or you are no longer prepared to wait for a traditional publisher to discover it or it appeals a niche market or it doesn't fit into the narrow categories often favoured by traditional publishers. You are prepared to pay up front and to invest your time and energy into both publishing and promoting your book.

You need to make sure your manuscript is at an acceptable standard and that you don’t skimp on quality especially in terms of covers, editing and formatting (for the printer or e-book). Unless you only wish to sell or give the book to a small number people (your extended family, friends, fellow hobbyists, church group), you need to tap into distribution networks and/or put a lot of hard work into marketing and promoting your book.

Self-publishing is not for you if don’t have expertise and are not prepared to learn or hire it; if you don’t have or wish to invest money up front and if you lack time and energy to put into it.

Regardless of the mode you choose, if you want your book to reach many people, you will need to put time and effort into promotion. Still, from a spiritual perspective, success does not depend on numbers or even on publication. Our writing may touch lives or change our own without being ‘successful.’

Ultimately, as Christian writers we write to please God and to use the gift he has given us.

Image ‘Hope Definition’ above courtesy of Stuart Miles at FreeDigitalPhotos.net

Jeanette has practiced medicine, studied communication, history and theology and has taught theology. She is currently caring for her children, enjoying post-graduate studies in writing at Swinburne University and writing her Akrad fantasy fiction series. She is actively involved in a caring Christian community.

You can find her on her Facebook page or websites JeanetteO'Hagan Writes &   JennysThread.com .

Publish or Perish? Part One

By Jeanette O’Hagan

Last week after meeting a friend for coffee at a major shopping centre, I had a spare couple of minutes before picking the kids up from school so I wandered into a local bookstore, drifting inevitably to the Young Adult section.

Shining beneath the bright lights of the book store, the kaleidoscope of colourful book covers lined up in neat rows on the tall shelve dazzled and enticed me. Big names and popular titles in bundles faced forward, catching the eye. The lesser stars – with maybe one or two copies – shyly flaunted their spines on lower shelves. I pulled out titles, flipping through the pages, enjoying the satin feel of the paper, the smell of new print. I recognised familiar names and titles and discovered new ones.

And I knew that’s what I wanted. One day, perhaps, my fantasy series will be there, on the shelf, a physical presence to be picked up, flipped through, taken to the counter, bought, savoured and devoured. Not for fame and fortune, but so that my stories to be shared and treasured.

Well, maybe. I have discovered in the last few years is just how difficult it is to be published.  I’m not an expert – just one aspiring author among hundreds of thousands, or is it millions, who has learned a few things along the way but what I have learned I would like to share with you.

First, be clear about what you want and why you write.

Sometimes we write for pleasure or as a means of self-discovery. Publication is far from our thoughts. Or we may be writing for our children or for friends and family. These are all worthy reasons to write. Often, however, we do want a wider audience to read our scribblings because we believe we have something to say or something worthwhile to offer. We have a sense of calling, that this is the direction God is leading us. 

Second, be realistic without being discouraged.

Writing is not a fast track to fame and fortune. Despite the outliers like J. K. Rowling, most writers struggle to make a meagre living even when their writings are published and this is even more true for Christian writers or writers downunder. It often requires many years and at least three and maybe ten books before an author’s name becomes noticed. Nor is it easy to be published in the first place. To be a writer takes time and determination. Remember, in the end it is God who gives success.

Third, there are different ways of getting our words out there.

Publishing a book is not the only way we can share our work with others. We can blog or seek to  have short pieces (like stories, poems, articles, devotions) published in journals, magazines or anthologies or even experiment with micro-fiction and poetry on mobiles. While we may want a world stage, God blesses small things as well as the large.

Fourth, don’t cut corners.

We may be excited about finishing the first draft of our manuscript. We want to get it out there but we should also take time to hone our work. Edit and re-edit. Have critical friends and beta-readers look at our work. Take time to learn what publishers and our target audience are looking for. Keep learning and improving our writing craft.

Fifth, decide which type of publishing model suits your situation.

Not all publishers are the same. Each publishing model has pros and cons.Another thing to ask is whether we want to publish with a secular or Christian publisher or imprint.

Sixth, beware of the traps.

In the excitement of being offered a publishing opportunity – always make sure you read the small print. Understand what you are giving away in terms of rights and what the publisher is offering you in terms of services and royalties. We may just want to get our work to readers but making naive mistakes about contracts (e.g. when rights revert back to the author or which rights are given away etc) can actually prevent that from happening. Sometimes wolves can be dressed in sheepskins!

Different publishing models

Now that you have decided you want your books published, what do you do? Basically, there are three types of publishing models: Traditional publishing; copayment publishing; and indie or self-publishing. I will examine some of the pros and cons with traditional publishing in this post and tackle the other two models in the next post (to be published on Thursday 28^th August).

The Traditional Publisher

A traditional publisher makes a contract with the author for use of the rights to his or her manuscript and then, at no cost to the author, produces and markets the book, giving back to the author a percentage of the profits (royalties). They may pay money in advance which is then earned out by incoming royalties.

Traditional publishers may be big multinational companies like the big 5 . The Big Houses have multiple imprints including inspirational and/or Christian imprints in the USA.There are also medium sized publishers and small presses. In Australian and New Zealand Christian publishers are generally small niche presses(like Wombat Books/Riza Press, SplashDown Books, Acorn Press or YouthWorks).

Big Houses offer access to big bookshop chains, Big W, and international markets; smaller presses are often more involved with their authors and are more likely to be actively seeking manuscripts. Many (bigger) traditional publishers do not accept unsolicited manuscripts and will only accept submission through an agent or Manuscript Services. However, some of these publishers now accept email submissions at specific times (eg Allen and Unwin Friday Pitch or Pan-Macmillan Monday).

Traditional Publishers
Pros	Cons
No upfront costs & publisher takes the full financial risk of publishing your book.	They regularly receive thousands and thousands of manuscripts. It is hard for your manuscript to be noticed in the slush pile.
The publisher may give you an advance.	Royalties are generally low – 1-15% on the sale price of the book, paid twice a year. For more info.
Publisher arranges editing, cover design, typesetting, printing and distribution.	Your manuscript needs to be original, well edited and well written to be accepted, not just good but exceptional.
Publisher provides some marketing and promotion.	First time and mid-list authors will still be expected to do most of their marketing and promotion.
Publisher usually has access to distribution networks.	Often your manuscript may only be considered if you have a significant ‘platform’ especially with non-fiction (i.e. reputation and connections with significant groups of people – such as web and social media presence; contact with target groups and/or speaking circuit etc)
Publisher has experience and expertise in the industry and knowledge of the market.	While you have some degree of creative control, this is limited. Some things like pricing will be out of your control.
They may offer you a contract on a second book or series.	They may decide not to publish your books for various reasons but will still own the rights (depending on your contract).

Traditional publishing may suit you if you have an outstanding manuscript; have a sizable platform or clearly defined target market; and/or would like to benefit from an established or trusted publisher’s expertise and experience in book design, marketing and distribution.

You need to be aware that it may take a long time to be noticed (if at all). Only a small proportion of authors seeking to be published traditionally are eventually successful. If you are successful, you will still be expected to promote and market your book. Always check the proposed contract for gotchas. Don’t sign a blank cheque. 

Traditional publishing is probably not for you if your book is for a small niche market, or doesn't fit into a clear category (i.e. cross-over fiction or it bucks the trends).

Traditional publishing is not the only option. In Part Two I will examine the viability of alternatives like subsidy and self or indie publishing models.

Image ‘Hope Definition’ above courtesy of Stuart Miles at FreeDigitalPhotos.net

Jeanette has practiced medicine, studied communication, history and theology and has taught theology.  She is currently caring for her  children, enjoying post-graduate studies in writing at Swinburne University and writing her Akrad fantasy fiction series.  She is actively involved in a caring Christian community. 

You can find her on her Facebook page or websites Jeanette O'Hagan Writes &   JennysThread.com .

Indie Publication – A Study in Patience and Pitfalls

Last month I released my first indie novella, Flare Up (yay! 🥳). In so doing, I joined the body of authors who have dipped their toe into (or for some, plunged right in!) hybrid publishing. Hybrid refers to an author who has some books released by a traditional publishing house, and some independently (self) published.

Some readers were super excited—not in the least because there was finally a story featuring Jett Faraday, a much-loved character from my Blaine Colton trilogy.

Various writing peers offered encouragement for venturing into the brave new world of indie publication. (And those with wisdom beyond my own kindly answered panicked questions as I stared at yet another gatekeeper option blocking my goal.)

I also had questions of whether I’d abandoned traditional publishing. Er, no. But I can assure you this process has given me renewed respect for my publishing house’s team.

So why go indie?

Simply, Flare Up as a novella wasn’t a suitable length for my traditional publisher. So, I decided to embark on the journey of indie publication. Sounds breezy, right? But no. This story had been latent in a file for a while, waiting for me to decide what to do with it. It took a lot of mustering for me to pluck up the grit to launch down this path.

The indie publishing market is growing incrementally and I can appreciate the appeal, especially for those who have a story that doesn’t quite fit with the majority of publishing houses. However, I can also see the pitfalls of temptation that could lure a writer to release their work too early or launch out without taking upon themself sound advice, such as a need to kill one’s darlings or restructure etc.

Image Credit Hermann Traub, Pixabay

As for the indie publishing process, I’ve bumped up against the “how hard could it be?” attitude. I’d even tiptoed down the self-publishing road a few times before, but swiftly found myself with more questions that I knew how to answer. For every step forward, there seemed to be even more blind stumbles back and questions I’d have to go away and dig into further.

It was only after my fourth (or was it fifth? 🤔) workshop on self-publication and after talking to numerous writing friends that I finally felt competent enough to at least give it a shot. Was it what I expected? Yes and no.

After my most recent self-publishing skills training, I felt reasonably confident I could bring a book to market—as to what quality it would be, well … The advantages I had included having my manuscript professionally edited and a beautiful cover designed by my talented friend, Kirsten Hart. However, on launching in, I was promptly required to consider production, distribution and market-related aspects I’d not even heard of, let along thought about.

I had no idea about distribution restrictions based on book dimensions, which also dictated the production options of paper type and finish. If releasing the book on multiple platforms, you could inadvertently double up on distributor for certain regions, and if the wrong box was ticked, it would make other distributors unhappy. (Insert stern emails about said book.) For example, agreeing to make your book available on Kindle Unlimited on Amazon means you cannot have it released on Kobo or other such e-sites. I also learned there were different breakpoints for pricing in relation to royalty rates.

Photo Credit: Bruno, Pixabay

My experience with traditional publication had at least given me knowledge of key words, catalogue descriptions and category codes (BIC, BISAC, Thema). Yet, just when it seemed I'd succeeded and the book was published, I’d receive a notification that something wasn’t right. For example, one time the cover wasn’t the correct dimensions—yet it was. The difficulty was that the way the layout is done means the file is not centred. Would it not make sense to centre a document designed to align from the mid-point out?

I’m still wrangling with Ingram Sparks, but slowly, slowly I’m creeping through the minefield of braille-like learning points. What I do know is I’ve figured out a lot and made some notable mistakes. Successful indie publication is not as straightforward as it sounds, but I’m certain with practise the process will get smoother. Most of all, I have a deeper appreciation for my wonderful traditional publisher. Thanks Rhiza Edge team!!! 💗💗

Adele Jones writes fringe and near young adult "Science fiction for the real world". Fuelled by her passion for family, faith, music and science, she tackles complex teen issues including self-worth, disability, loss, domestic violence, youth crime and more. To learn more visit: www.adelejonesauthor.com

Indie Publishing anyone?

by Jeanette O'Hagan

What is Indie publishing? 

What is Indie publishing?  In the past there were two main routes to publishing - through a traditional publisher or through a vanity press. With the advent on e-books, print-on-demand, and online sales, it's become more and more viable for authors to become their own publishers. This means much more than finishing a book and then banging it up with a cover and no editing or proofing on somewhere like Amazon (though that can happen).  A serious Indie publisher is committed to producing a quality book with professional covers, with well edited and structured content that will connect with readers.

Like most authors, my aim was to be traditionally published. I became involved in Indie publishing through writing short stories and anthologies, first with some hands on involvement with the publication of the Tied in Pink anthology (which included my story, The Herbalist's Daughter) in 2014 and then publishing two anthologies in December 2015 - Let the Sea Roar (editor Madeline Calcutt) and Glimpses of Light (editors Jeanette O'Hagan and Nola Passmore). In 2016 I decided to publish a couple of the short stories and then a novella - Heart of the Mountain. The rest, as they say, is history.

Interview - Pros and Cons of Indie Publishing:

At the recent Omega Writers Toowoomba Retreat I was invited to be on the three-woman panel (along with Anne Hamilton and Ruth Bonetti) about Indie Publishing.  Nola Passmore asked us a number of questions and it was great to get three different perspectives as well as to answer questions from the audience. I've reproduced my answers I'd prepared to the questions below.

‘The Road to Self-Publishing’ Panel

Sat 8 June 2019 

Nola: Very briefly, tell us what you have self-published and the genre/s.

Jeanette: Of my own books

The five novella series Under the Mountain. The first book Heart of the Mountain published in 2016 & the last book, Caverns of the Deep released last month.

Akrad’s Children – first novel in the Akrad’s Legacy series

And a collection of short stories Ruhanna’s Flight and Other Stories


I’ve also been involved as either editor, proof-reader, & /or publisher of a number of anthologies

 Glimpses of Light - editor (with Nola Passmore) & also publisher
 Let the Sea Roar – editor Madeleine Calcutt, I assisted & also published the book
& I helped Victoria Carnell publish her first edition of The Call of the Wattle Bird.

Nola: What led you to take the self-publishing route?


Jeanette: I have a few reasons:

The opportunities to be noticed and accepted by a traditional publisher are extremely limited
I like having creative control and while a Indie publisher takes on the brunt of financial commitments up front, they also receive a greater percentage of royalties in the long run, and are not restricted to the publishers timetable and/or change in direction or focus.


Nola: What tasks did you do yourself in the production of the book/s and what tasks did you outsource? Can you provide tips (or lessons learned) from your involvement in any of those tasks? Any useful resources?

Jeanette: The tasks I do are:

• Write the book & Initial edits
• Get ISBNs, & register with Library Catalogue, Goodreads etc.
• Format both e-book & the print book
• Cover (in most cases)
• Uploading the book to Amazon, Draft2Digital, Ingram Spark
• Send legal copies to National Library of Australia (NLA) & State Library
• Launch, promotion, special offers
• I also want to work on distribution - to schools, libraries and bookshops.

And I outsource:

• Editing & Proofreading
• Cover (in one case)

The mix will be different for each Indie author and there are services like Book Whispers or Lillypilly Publishing or Australian E-Book Publisher that can provide many of these to Indie authors at reasonable cost without taking control of royalties and/or decision making.

I will say that it's important to outsource at least some of the editing and proofing as it's important to get other eyes on the manuscript.

Nola: What costs were involved in producing the book? How did you fund the project?

Jeanette:  For me the main costs are:

• Pay for professional editing, proof-reading (this is the biggest cost but important not to skimp)
• Paying for ISBNs 
• Set-up costs with Ingram Spark (a Print on Demand publisher with a printer in Australia)
• Software costs 
• Cost of giveaways – especially print books for reviews or promotional opportunities or giveaways (most will take ebooks),
• Admin /Promotion costs – such as POBox subscription, domain name, website hosting, Book Funnel subscription,  etc.
• Also for events & fairs – Table hire costs, Insurance (Duck for Cover), travel & accommodation for book tables at conventions like Supernova or the Omega Writers Book Fair – and a kind gift from one good friend.
• Advertising – I’ve done a small amount of Facebook Ads but haven’t had the time or budget to invest in this as yet.

To cover these costs, I’ve invested my own available spending money, cashed some shares, also I’ve done some occasional paid editing & formatting. And I do get some royalties from online sales, one anthology & conventions.

It helps if you have some upfront resources to invest, though there are ways to bypass or reduce some of the costs without skimping on quality - but it generally means more time commitment and slower progress. Of course, with God all things are possible.

Nola Passmore: According to Jane Friedman, an author platform is ‘an ability to sell books because of who you are or who you can reach’. What is the most useful or effective thing you’ve done to build your platform and/or market your book/s?

If I discount the early anthologies (Glimpses of Light & Let the Sea Roar) – then it’s a tie between early online Facebook launches & Conventions – like Supernova and Oz Comic Con. 

Nola: You’re all Christian authors, though not all of you were publishing material that was explicitly Christian. What role did your faith play in your publishing journey?

I felt a clear lead from God that this was what he wanted me to do. While my books are aimed for the general market (and I’ve had many non-Christians read and appreciate my books), I write intentionally from a Christian framework and themes. Faith also keeps me going when I feel discouraged.

Nola: What can readers and other writers do to support Indie authors?

Glad you asked :)

Much the same as any author.

• Pray & encourage them
• Beta read if requested or critique groups
• Buy – or borrow their books (& if not in local library or bookstore or school, ask if they can be ordered) & read them :)  (Okay, so my to-read piles are huge - but I enjoy reading other Indie and Small Press authors).
• Maybe buy their books for friends and family as gifts.
• Recommend their books to friends, family, other readers – both in person and online
• Review and/or blog about their books.
• Subscribe to their newsletter or patreon
• Like their FB pages, Twitter or Instagram – like, comment, share or retweet their posts. Follow them on Amazon Central, Bookbub, Goodreads. Add their books to appropriate Goodreads lists and/or ask questions.
• Attend and participate in launches.

Especially, Active support on Social Media, Buy, Review and Recommend their books - and encourage and pray.

Thanks Nola for some great questions and the opportunity to share a little of the Indie journey which can be exhilarating, moving, lots of fun, discouraging and exhausting but always worthwhile. We walk by faith, not by sight. So as someone blessed me today by saying 'Jenny, keep writing' so I say 'Keep writing.' 

Jeanette O'Hagan spun tales in the world of Nardva from the age of eight. She enjoys writing fantasy, sci-fi, poetry, and editing. Her Nardvan stories span continents, millennia and cultures. Some involve shapeshifters and magic. Others include space stations, plasma rifles and cyborgs. 

Her stories and poems have also been published in over twenty anthologies - including The Quantum Soul, Challenge Accepted and Tales of Magic and Destiny in 2019, as well as her Under the Mountain series and Akrad's Children, the first book in the Akrad's Legacy series.

Jeanette has practised medicine, studied communication, history, theology and a Master of Arts (Writing). She loves reading, painting, travel, catching up for coffee with friends, pondering the meaning of life. She lives in Brisbane with her husband and children.


Find her on:

Facebook |Jeanette O'Hagan Writes | Twitter | Instagram | Pinterest

Why? A journey to publishing

People often ask me why I started a Christian publishing house. So since this is my first blog post (ever by the way, I haven't blogged before) I thought I might share that ...

 

I am a would-be writer! How many of us are out there in Australia - 1000s. How many in the Christian market - heaps... and we would all love to get published... right? Well I was one of them, still am some days, but then I discovered ...

 

... there weren't that many places to "get" published and self-publishing was expensive and tough marketing it on your own.

 

So somehow I thought, hey I could help people get published and then it was like God said - try this. So I started Even Before Publishing, a traditional publishing house for Christian authors. After all why not? It wasn't so much of a journey or even a reason why, it just sort of happened. Interestingly though now I know why I did.

 

 Running a Christian publishing house has a lot of advantages:

 

• I get to read some great new manuscripts
• I get to work with and support new, aspiring and established authors
• The books we publish are often suitable for a range of markets and make great gifts for our friends and family... reaching more Aussie readers.
• It is a wonderful experience to get behind authors and get their inspiration to readers

Running a Christian publishing house has a lot of challenges:

 

•  I don't really enjoy saying no when authors submit, but sometimes we do have to, unfortunately there are a lot of manuscripts out there
• It is a changing industry, what is going to happen next? ebooks, digital printing and so on... this could also be an advantage, but there is lots to watch to see what to do next and what to focus on.
• Running a business has its own challenges and all Aussie authors are still working for real breakthrough in Australia.

So when asked why I started it, I guess my answer is "If God is for us who can be against us, so why not!?" And I have found I like publishing more than writing most days! It is a privilege to work with so many Aussie writers.

Writing: A Ministry or a Business?

by Narelle Atkins

In recent weeks I’ve been thinking and praying about the direction of my writing journey and how I perceive my writing. I write in three different genres: nonfiction Bible studies, inspirational romance and sweet romance.

I definitely view my sweet romance writing as more of a business than a ministry. I’m seeking traditional publishing opportunities and I’m striving to write high quality stories that will appeal to a specific market. These stories have underlying Christian values and potentially a subtle spiritual theme because I’m writing from a Christian world view.

My inspirational romances have a stronger ministry focus. These stories are the ones that I feel have put on my heart for a reason and, like my sweet romance stories, I’ve sought out traditional publishing opportunities.

I’ve come to the conclusion that if we’re considering traditional publishing opportunities then we have no choice but to think about our writing as a business. Traditional publishers are bearing all the financial risk when they contract a book. The staff and owners of publishing companies need to sell books to pay for their salaries and feed their families. An author may not receive a new contract or the next book in their publishing deal may be cancelled if they have poor book sales. And the publisher will go out of business if they aren’t selling enough books to ensure their business is financially viable.

I know authors do struggle with all the marketing and promotion that is expected of them compared to the ‘old days’. The eBook revolution and the flood of cheap self-published books hitting the marketplace have changed the publishing landscape. Traditional publishers have lost some of their ability to dominate the market because the main book buying channel is no longer limited to print books sold either in a book store or online. Traditional publishers, large and small, have to work hard to get their books noticed by readers, and authors are expected to be partners in this endeavour.

In contrast, I perceive my Bible studies to be a ministry rather than a business. We set up the 30 Minute Bible Studies website six years ago and we provide free Bible study questions that we had previously written for our small group. This year the ‘ducks lined up’, so to speak, and we have added a blog to the website and started publishing eBook leader’s guides on Smashwords. Six years ago I had a vision to sell affordable leader’s guides in eBook format but the timing wasn’t right and the necessary resources didn’t exist.

We’re releasing an eBook per month and writing articles on the blog that relate to the Bible studies. I chose to self publish the leader’s guide precisely because our primary goal isn’t to sell bucket loads of eBooks. We hope to encourage people to join a group that studies the Bible and we provide free or affordable Bible study resources that they may find helpful. The leader’s guides are an optional extra that we are charging a small amount for to potentially compensate for the time and effort it takes to put together the information.

How do you perceive your writing? Is it a ministry or a business or both? I’d love to hear your thoughts.

NARELLE ATKINS writes contemporary inspirational romance. She resides in Canberra, Australia with her husband and children. She can also be found at the International Christian Fiction Writers blog.

Narelle is a co-founder of the 30 Minute Bible Studies website. She recently launched the new 30 Minute Bible Studies blog. To learn more about Narelle, please visit her website.