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#publishing
gr8writingtips · a day ago
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writing tip #3333:
keep track of how long you daydream about your characters so you can add the figure to the 'writer stats' section of your query letter
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nanowrimo · 2 days ago
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Which Publishing Option is Best for You?
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Now that our NaNoWriMo marathon is over and our adrenaline may be wearing off, what’s next? We have NaNo Guest Lauren Ranalli sharing her wisdom about publishing.
Do you have an idea for a book that has been rolling around in your mind? Is there a story that keeps popping into your head when you take a walk, drive your car, or get in the shower? So many of us have great ideas for writing a book! And most of us don’t know where to start… I sat of my first book idea for almost 8 years because I didn’t know where to begin. 
If you’re looking to publish a book, there are typically 2 routes you can take: Traditional Publishing and Self-Publishing. 
Benefits of Traditional Publishing. 
Becoming a published author through a traditional publishing house has its benefits. Your book can show up in every Barnes and Noble around the country. You may get a paid advance for your work. And you might have someone coordinate your book tour. All good things!
It’s a great option for many talented writers, especially if you are willing to put in 3 or more years of effort to see your book on the shelf. Traditional publishing may involve 1-2 years to find an agent and a publisher, and then another 2 years before the final book is released. 
Here’s a little secret about me: I am not a patient person. 
Benefits of Self-Publishing:  
First, let’s clear up a misconception: Self-publishing is not the default for authors who could not find a publisher. Far from it! Self-publishing is an active, creative decision. And it’s the decision that was best for me. If you are an author considering your publishing options, here are a few benefits that I have found from the indie publishing or self-publishing world.
1. You set the timeline. 
I love that I can sketch out an idea in my notebook and, within the year, there will be a final book in print to have, hold, and read aloud! Now, don’t get me wrong, there are about 200 steps that happen between the notebook and the final product, but it’s on my own timeline. And with some determination, I can make it happen. My last book, “Let’s Meet on the Moon” went from concept to final print in 8 months. And I couldn’t be happier with how it turned out!
2. You choose your costs.
Every author needs a budget. As a self-published author, you do need to put in some up-front costs, which can be challenging. But you can also choose where and how to allocate those costs. For example, I chose not to hire an agent. And I was able to do a review swap with an editor, eliminating that initial expense. I researched the printer that is the best fit for my work and gives me a price point that allows me to make a profit on each sale. I can then re-purpose those funds into strategic marketing options that engage readers across the country. And all those choices allowed me to do $10,000 in sales during the first 3 months of my very first book launch.
3. If you are a children’s book author, you choose the illustrator. 
When I was first researching publishing options, it became clear that, as a newer author, a traditional publisher would pair me with one of their own illustrators. That could have been a great option! But it was also clear that in the traditional setup, authors and illustrators work mostly independently, and there is not always an opportunity for true collaboration. I knew that I wanted to work with Emily Siwek, an amazing local illustrator. And so I got to make that decision and am happy that I did. 
4. Good news! 
As an indie author, you can still get your book into Barnes and Noble, go on a book tour, and have readers across the country fall in love with your work. It may just take a little more elbow grease on your part, but it’s definitely doable- and can be incredibly exciting!
Lauren Ranalli is an award-winning self-published children’s book author, the Director of Marketing and Communications for an international non-profit, and the mom of two high-spirited children. Visit her on Instagram at @lauren.ranalli_author or at www.laurenranalli.com to receive 2 FREE resources, Finding Social Media Success, and Daily Marketing Strategies for Authors. 
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Top Photo by Stephen Phillips - Hostreviews.co.uk on Unsplash  
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nanoland · 5 months ago
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i am once again asking folks to recognize the ethical difference between pirating disney movies and pirating books by midlist authors 
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spaceshipkat · 11 months ago
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I feel like book piracy has become so normalized now and its honestly so ugly and disappointing. Like I totally understand that some people in other countries have straight up no library access but for people in the US/UK?? saying that pubs are their 'free trial' without even trying to use a library??? I truly think younger readers using them don't realize how badly it could fuck an author over
i think book piracy comes down to people not understanding the differences between the film industry and the book industry. i don’t fully understand the film industry bc it’s not my focus, but i do know that pirating movies or shows is not going to directly impact the actors and/or the little people behind the movie or show. (if someone wants to elaborate on how, please do! i’m not really sure.)
however, pirating books is going to directly impact authors, not publishers or CEOs or any other bigwigs. an author is paid thus: they sign a contract for a certain amount of money, say, $100,000 for a two-book deal. that means that each book will be (technically) worth $50,000. depending on the contract, a check will be written for $25,000 upon the author turning in the version of the manuscript that the editor bought. that check will go to the author’s agent, who will take their 15% commission, which will be $3,750. then, the agent will send the remaining $21,250 to the author, minus taxes. with that same scenario, a check with the remaining $25,000 will be written upon the author turning in the final copy of the manuscript, aka the version that will go to the printer, and the process repeats (the check is sent to the agent, the agent takes their 15%, the author gets the remaining $21,250, minus taxes). 
that’s not where this story ends, though: in every contract is a thorough section detailing royalties, aka how much the author will receive per sale of a copy of their book in the book’s entire lifespan. if an agent is good, this will be one of their most important areas they focus on during negotiations. it’s imperative that people know that royalties can make or break an author’s career. it’s better to have larger royalties than a larger advance, bc an advance is only once, whereas royalties will continue as long as the book continues to sell (hardcover, paperback, audiobook, ebook, etc). the higher the author’s advance, the more pressure there is for the author to break even, aka for the author to make back the $50,000 spent on that first book. in a worst case scenario, if an author doesn’t earn back their advance (a big turn of phrase in publishing), they could have book 2 canceled, or they could possibly never be able to sell another book to a publisher again due to a poor sales record. in that case, it’s likely the author will have to re-debut under a pen name so the publisher backing them can treat them like a debut author. or, you’ll see an author’s first printings tank between book 1 and 2 or book 2 and 3 etc etc. for instance, Enchantee by Gita Trelease had a first hardcover printing of 175,000 copies (which is big for a debut!), while book 2 of that series, Everything That Burns, has a first hardcover printing of 75,000 copies. now, i can’t see the sales numbers, but it seems likely a lack of sales is the culprit here. 
so when people say that pirating books will directly influence whether or not your favorite author gets to publish more books, they really mean it. it won’t affect the publisher (who has massive protections in place) nearly as much as it will affect the author (who doesn’t have those same protections), and it could mean that your favorite author never gets to finish that series you love or can never publish another book again. in conclusion, don’t pirate books, kids. 
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b-a-pigeon · 4 months ago
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Listen, I think if you’re white and a writer, it’s important to be aware of how incredibly white the publishing industry is.
This NY Times article, published in December, provides some pretty bleak statistics on published authors. They chose a sample of 8,000 English-language books, based on their publishers & distribution, and found that - of the authors for whom they could find demographic information - 95% were white.
95 percent!! 
This study is larger than the US, but just as a point of reference - 60% of the US is white. And yet, an incredibly, disproportionately high percentage of English-language mainstream books (published by major publishing houses, and widely distributed) were written by white people.
I bring this up because I think it’s incredibly valuable for writers, especially white writers, to consider the effects of this overwhelming whiteness! I think it matters that, unless you’ve intentionally sought out books by POC, most or maybe all of the writers you’ve read, admired, and wanted to emulate are white people. I think there’s value in considering how your writing has been shaped by this, and how it has affected the writing communities you exist in, and the ways you navigate them.
Also, while you’re thinking this through, consider buying a book by an author of color - being in an industry in which you are a small minority is no easy task, & you (the reader) will only benefit by exposing yourself to good art made by people whose experiences differ from your own! :)
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maxkirin · 5 months ago
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With my book coming out soon, I thought I'd take this as a chance to answer a very tough question:
What's the Best Way to Support an Indie Author? Where should you buy their books? 🤔💵
Big post incoming!
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Before we start talking about the wild, wild world of 👑royalties👑, I want to make this crystal clear:
The best way to support an indie author* is to BUY OUR BOOKS. Straight up. Paying for our hard work is good enough.
You want to support me? Easy. Buy my book.
*Now, let’s say you don’t care where you get the book from or your goal is to make sure most of your hard-earned money actually goes to the indie author rather than some corporation… then, in that case, read on!
So… what the heck are book royalties anyway?
When you purchase an indie eBook the money you spend is split between the author and the retailer. Depending on the split, more or less of your money will actually end up on the hands of the author you’re trying to support.
This differs from traditional publishing, where the author receives a lump sum as an advance from the publisher (which is then split between author and agent).
The publisher then sells this book on other storefronts, which further splits where the money actually goes.
PS: It is not until the book has actually generated as much revenue as the advance that said author begins to *actually* earn royalties on books sold, which may be as little as cents per book to a percentage of each sale.
To further confuse matters, different retailers offer different royalty rates! 😵
Where should you purchase books from if you want to super-duper support an indie author?
Well, let me give you a tier list—beginning from the TOP!
S TIER: Author's Personal Shop
Buying a book directly from an author's shop is by far the best way support 'em. Outside of a small % that goes to cover for credit card fees (~5% in my case), pretty much all of your money goes to the author.
If the author has a shop—buy it from there!!
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A TIER: Itch.io
It's not just for games, you know! Its royalty rate is one of the most generous with a default 90/10. This is crazy-good compared to most other retailers.
Seriously, more authors should start selling their books on Itch.io!!
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B TIER: Most Retailers
Apple Books, Barnes & Noble, Google Play Books, and Kobo all offer a 70/30 split. It didn't use to be like this, tho!
If you like to have all of your books on the same platform, buying an indie author’s book through these platforms is honestly A-OK! 👍
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C TIER: Amazon
Amazon has a default 35/65 rate (ouch) and has the option for a 70/30—but it's not easy. The latter option is not available in all territories and has many prerequisites.
Also, one way to get the 70/30 split is to *exclusively* sell your title on Amazon (ooof).
As if Amazon’s system wasn’t already confusing enough—there’s also *delivery fees*. Yes, you read that right. Amazon charges the author for the delivery of the digital item based on the file size, nickle-and-diming you like it's 2004 and you went over your text message limit.
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I don’t want anyone to feel bad for buying books through Amazon. Like I said before, the best way to support us is to buy our books—no matter where you get them.
A sale is better than no sale at all. 🤞
The reason I set out to write this is because the average person has no clue that where you buy a book from actually matters.
You spend your hard-earned money wanting to support an indie author and the bulk of that Hamilton doesn’t even go to them.
And now you know. 🧵🔚
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trashandwriting · a month ago
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Tips for (beginner) writers
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Set yourself a daily word count. You don't have to do it daily, just make sure everytime you sit down and write you do it with the thought of "I'm gonna write at least a page today".
Don't let bad writing demotivate you. Fuck it, if its bad, it's bad. You can edit it. But don't just stop at bad scenes, write your way through it.
If you're stuck in a scene and you don't know what's coming next, write another chapter. Just a random one. Maybe one you don't even know where to put it in the plot.
When you don't know how to write a scene, write the dialogue, then add the actions.
Don't loose yourself in endless planning. Your characters are bitches, they're gonna do it differently anyway.
Following that, don't characterise your characters in detail before you start writing. As I said, they know better. Instead, characterise them while you are writing.
The Comic Sans writing tip works.
You don't have to edit every chapter right after writing it. You're gonna have to edit the whole thing again anyway and you're gonna change things in previous chapters, so save your time and finish the story before you edit.
Never speak the sentence "I'm kinda in a flow, writing is so easy currently." The writing gods can hear you and they hate you.
If you have no motivation to write, read.
Don't be afraid to try out stuff.
Don't be afraid to be evil.
Drink enough water/tee/coffee.
"I have an idea for my story, but I'm gonna memorise it, I don't have to write it down." YES YOU DO.
Make sure you can answer the question "Oh, what is your book about?" with two simple sentences.
Have fun and find your way. Every writer is a little different. Don't care too much what others do.
Publishing is not easy, especially your first book. Find an agent or good people who will support you with self-publishing.
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semblanche · a year ago
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someone: so who's your target audience
me: me and three other highly specific people who i may or may not know irl. alternatively, anyone except my mom
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yenaprompts · a month ago
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it actually is super important to “write for the audience you want and not the audience you’re afraid of.” because if you do write for the people who would hate your work if you didn’t bend over backwards trying to cater to them, inevitably you are going to have more of those people engaging with you and your work than you would otherwise. you have every right to explore how YOU feel in your own work and every right to target one audience over another, so don’t try and impress people you don’t want anything to do with. it’ll hurt you in the long run, in more ways than one.
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cassandraclare · 16 days ago
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Now, about publishing... I really want to know how you make the decís to chose the cover of your books? I mean, is it based of the main character or something about the plot... Idk, it will be interesting to know your opinion. Also would you be interested in leaving some clues on the covers? 👀
Well, this is probably heartbreaking news (and the last question about writing I'm going to answer today as, my writer friends have pointed out, I am procrastinating bigtime) but usually writers have little to no input into their covers at all. Certainly for the first books I wrote, I had no input into what went on the covers, and the first time I remember being consulted at all was about Clockwork Angel (even then, the decision was made by the publisher as to who would go on the cover: it was Will because Tessa had to go on the third cover as they didn't want to pair the title Clockwork Princess with a picture of a boy.)
The decisions are generally made based on the theme and feel of the book. The "main character" doesn't mean anything to anyone unless you're in a series and you have fans actually interested in who shows up on what cover, in which case the publisher will take that into account. But what they are interested in above all other things is conveying what kind of a book it is. Fantasy books should feel fantasy, if the fantasy is very dark, the cover should convey that. A mystery book should feel mystery, a happy rom-com should feel happy.
If you are in a series, then there is also the issue that the cover must conform to the books that have gone before. Chain of Thorns could not have, say, an abstract black-and-white cover because it wouldn't look and feel to buyers like another Last Hours book and what it has to convey above all other things is this is the third book in this series and you can tell because it looks like the other books.
What I will say is I've had more input as I've been publishing longer (I asked for an underwater cover for Lady Midnight, and "Cordelia's hair turning into leaves" for Chain of Gold) and that's generally true for most people. With Sword Catcher I created a file I shared with my editor that contained images I loved and wanted to evoke and they worked off that.
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ronoken · 6 months ago
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So, who wants a publishing story?
No one?
…Tough.
To preface, this was prompted by a post I saw about always making sure you read a contract before signing it. I wholeheartedly agree.
So, I write books. A roundabout result of writing books is I occasionally get to speak at conventions. When I do speak at conventions (which hasn’t been for a year. Thanks, covid), a standard question I get asked is about the benefits of self-publishing versus getting a contract. And yes, I fully realize that everyone’s experience in this is different, and I get that. Here’s mine.
So, several years ago, I wrote a book. I put a solid year into it and did numerous rewrites, edits, etc. with three wonderful editors and boom. Book. Done. And then, like many who are impatient or who don’t want to run the risk of rejection, I self-published my first novel.
And to my great shock, I actually sold some copies.
Quick aside. I’m not famous. At. Fucking. All. Some is not millions. Some is several thousand at best. And that’s over YEARS. I am not widely known and I do not claim to be. At all.
So yeah, like, I didn’t sell a million or anything, but I was moving over 100 copies a month when I was putting in the marketing work. Not too shabby. I was hustling on Twitter, FB marketing, Google ad marketing, working the review sites, doing interviews, everything I could. And it actually worked. I can honestly say the number of copies I moved a month directly correlated with how hard I pushed. And when I pushed, I pushed damn hard. I even got to a point where a reviewer who became an editor for DC would routinely provide public reviews for my books, and I was doing a superhero series. Not gonna lie- it was fucking rad.
Anyway, after a couple years of doing this, putting out a second novel which sold okay, a bunch of novellas, and so on, I received an offer out of the blue to have my work officially picked up. For realsies.
Admittedly, I was over the moon about this. I was being contacted by an unsolicited source! AND THEY HAD MONEY!
Now, my work wasn’t Shakespeare. I knew that. They did, too. They offered me a nice little starting sum. Not a lot, but holy shit it was FIVE THOUSAND DOLLARS UP FRONT. One of my editors reads my Tumblr and I don’t think I’ve ever told them how much it was. It was 5k. To start. Not a lot, publishing-wise, but that’s because the work was already done. See, most publishers will give you more, but the catch is it’s considered a down payment for more books in a series. They pay you to write future novels, and then they expect you to pay it back. I already had a shit ton of content out, so I essentially skipped that step. Which tells me that publishers really don’t expect to have to actually pay you much, but that’s another post.
To my editor- sorry I never said the exact amount. It felt weird, but it’s been years, so it’s not as weird? I dunno. That logic train made sense as I was writing this.
So, 5k upfront, and then 50% of all sales thereafter, and they would handle EVERYTHING. Marketing, scheduling tours, covers, putting me in stores, the lot. Considering how much time, money, and effort these things took, this was not a terrible deal, but there was a catch.
My story would officially no longer be mine.
Oh, my name would be on it, and I’d write it, but from there on out, the publishing house would have 100% control over how it was marketed, where it went, and so on. If they wanted to option it, I would have zero say and zero rights, meaning they could take it and do fuck-all, and I would be left with nothing. Per the contract, they could even go so far as to issue me a cease and desist on my own work and hire a new person to take over. I was signing away everything in my universe if I said yes.
So, despite the allure of having things offered to me like a legit marketing team, book tours, and money (such as it was), I said no thank you.
Now, it didn’t hurt that I’d already made 5k in sales by that point. I knew my worth and how to push to keep it that way, if I so chose. Also, it helped that I was in an okay place when that offer came in. I could look at it and say, “well, that sure would be nice, but I don’t need it.” A lot of talented writers aren’t in that space, and the offer of several months rent or money for food as well as REALLY-REAL PUBLISHING can be hella tempting. And I get it, for some folks, the deals work out alright. And for some they don’t. And I sure as Hell am not going to judge. Seriously, I still have vivid nightmares about working 60+ hours a week and not being able to afford baby formula. Hell, if they had offered that to me just one year earlier, I would have been forced to take it. At that stage of life, 5k would have been life changing. I was just starting to hit the OK section of life, and only barely. Money when you need it is fucking awesome, and sometimes, you take what you can get.
But if you are a writer? And you’re in a place where it’s not life and death? Read the damn contract. Every single time. Make good and sure you know what you’re getting into and ask yourself, is it worth it to you? If it is, awesome. Again, not gonna judge, and every situation is different.
In my specific case though, it was choosing a nice bit of cash over something I had slaved for years over. I couldn’t do it. I still can’t. It’s the one property I’ll never let go of because when I wrote it, I didn’t even know if I could write a book. It proved to me that yes, I really could, and that was worth more than I can put into words.
TLDR: Read your contracts. Make choices good for you. Some things are worth more than money.
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spaceshipkat · a month ago
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"If the world's largest book publisher is permitted to acquire one of its biggest rivals, it will have unprecedented control over this important industry," he added. "American authors and consumers will pay the price of this anticompetitive merger - lower advances for authors and ultimately fewer books and less variety for consumers."
thank fuck they’re being stopped
also, bite me, PRH and S&S:
In a joint statement released Tuesday, the two companies vowed to fight the lawsuit and said that the publishing industry is "highly competitive" and will remain so following the merger.
"Blocking the transaction would harm the very authors DOJ purports to protect," the publishers said in the statement. "We will fight this lawsuit vigorously and look forward to PRH serving as the steward for this storied publishing house in the years to come."
and this is exactly why this is so important:
"Penguin Random House and Simon & Schuster compete head-to-head to acquire publishing rights to hundreds of books every year, and this competition has resulted in substantial benefits for authors of anticipated top-selling books," the complaint reads. "Penguin Random House and Simon & Schuster are frequently invited by agents to bid in auctions for the rights to these books, and they are often the final two bidders. Competition between Penguin Random House and Simon & Schuster has resulted in higher advances, better services, and more favorable contract terms for authors."
"By reducing author pay, this merger would make it harder for authors to earn a living by writing books, which would, in turn, lead to a reduction in the quantity and variety of books published," the Justice Department wrote.
everyone keep your fingers crossed the doj is successful in stopping this. if PRH and S&S succeed, the landscape of publishing will change and it will be even harder to make a career as an author than it already is
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gr8writingtips · 2 months ago
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writing tip #3295:
prepare yourself for the fact that one day someone will read your novel and they'll have a take so bad that you'll regret having written it in the first place
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nanowrimo · 14 days ago
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3 Steps to a Professional-Looking Book Layout
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Every year, we’re lucky to have great sponsors for our nonprofit events. Hermit, a 2021 NaNo sponsor, is a fast, elegant, and free to use web-based writing application that also lets you print physical copies of your books. Today, Alex, its founder and developer, shares 3 tips to create a professional looking book design by yourself.
Step #1: Make It Breathe (Spacing and Margins)
When designing a book, white space is important. Too little white space and the text will be so condensed that it’ll be hard and unpleasant to read. Add too much and you’ll end up with a huge amount of pages that’ll cost extra for each print.
For a 6x9” book, 0.5” is a reasonable amount of margin. It’s also good to add a bit more on the “inside margin”, the side of the page near the fold of the book — 0.75” would be a good amount.
Additionally, whenever a new chapter starts, it’s quite common to add a lot of top margin on its title page. This will give it some importance and help the reader understand that this is a new chapter and not just another heading.
When hesitant about white space, always do a print test on your home printer if you can.
Step #2: Make It Readable (Font Choice and Typesetting)
Typography is an art. You might not have noticed, but even though the fonts used in the books you read are often similar, they’re very rarely the same. There are some classics, of course, but there are thousands of high quality fonts out there that you can use for your book project.
It’s tempting to use many fonts but one is generally enough. If you want to give your book some extra style points, you can also use a second one for the headings but more than that will usually make your book look less professional.
The font size and line height you’ll want to use actually depends on the font you selected. Most books go for something between 10 and 12. Serif fonts usually need to be a bit bigger than their sans-serif counterparts to be as readable.
A good amount of line-height is primordial to prevent eye strain and fatigue for the reader. Generally, you can start with the font size and multiply it by 1.5 to get an ideal result. Anything between 1.3 and 1.6 is reasonable; it all depends on the fonts you chose.
Just like for the white space, it is recommended to print tests using your home printer of various fonts and sizes. Do not trust your computer screen no matter how good it might be!
Step #3: Make It Fancy (Drop Caps and Other Stylistic Elements)
There’s a couple of ways to add style points to your book design that involve almost no work at all. One of them is to add drop caps. Drop caps are large capital letters that act as an ornament, usually whenever a chapter starts.
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Example of a drop cap that spreads over 2 lines
Another thing we can do is enable ligatures. Ligatures are when the font you selected has different ways of displaying certain groups of letters, generally by combining them into a single drawing. This adds a subtle touch of refinement to your text.
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Examples of ligatures on “fi” and “fl”
Let’s make you a book.
There are many more things to take into consideration when designing a book layout but those few tips should give you a head start. If that feels like too much work or you’re too impatient to get your book printed, feel free to give Hermit a spin. We’ll take care of everything and ship you a beautifully designed copy of your book at a low price.
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Last year participant with a copy of her printed book
Alex is the founder and developer of Hermit, a free to use, secure, and lightning-fast writing application for everybody who likes to write, from scribblers to aspiring authors. He’s been continuously improving it over the last 8 years and plans to continue doing so. His next goal with Hermit is to tailor the experience for different writing projects and let authors order physical copies of their work with as little effort as possible. Sign up & subscribe now and get a printed copy of your book at a low price.
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heywriters · 9 months ago
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{description: stitched Tiktok
" '...would you consider the 1980s to be historical fiction?' "
"You're gonna hate this, but the 1980s is absolutely historical fiction. So I was a kid in the '80s, and back then I thought that World War II was like the oldest thing in the world, but guess what? When I was a kid, WWII was 40 years earlier. For kids today, the 1980s is 40 years earlier.
Here, I'll do another one! When I was a kid I thought that like hippies, 1960s people, Woodstock were like totally ancient history, right? For kids today, that's Y2K. That's how long ago that was; 9/11.
I work in children's books, so I mean I deal with this a lot, and I recently sold a book set in 2005...that is historical fiction.
If your target audience wasn't born, it's historical fiction. Sorry?"
via Tiktok @ literaticat)
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ettawritesnstudies · 6 months ago
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I’m taking a couple hours today to do a research deep dive on publishing, marketing, and the book market in general! Would anyone be interested if I share the results of my notes?
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fixyourwritinghabits · 5 months ago
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You’ve mentioned a few times that you don’t believe authors need twitter—i was wondering if you had any advice regarding alternatives? I’ve heard that “everyone in publishing” is on twitter, and publishing companies actually look at social media following, people score agents there, and that it’s a big (the biggest?) source for advertising for new authors. what can writers do if they want to be traditionally published but really really really don’t want to be on twitter? how do you make connections?
So here is what Twitter is good for - following agents, authors, and editors to see what they're working on, talking about, and how they market material. It's good for pitch contests, making friends with authors of similar interests, and (more often than not) watching the drama go down to see what not to do (screenshot Goodread reviews to dunk on them, sexually harass women, there are... legit issues that happen on Twitter).
Here's when Twitter stops being useful - when you reach a modicum of success and surpass a certain follower count. A common thing people note is that once you pass 5000 followers, they stop being individuals that you can keep track and respond to. You, however, still seem to be talking directly to them, with the added bonus that now you are a Famous Person. They've followed you all this way, and to some people, now you owe them.
It doesn't matter how little you actually make off of book sales or the fact that you likely still have a day job. The reply guys, the over-sharers, and the drama flies view you as a Famous Person and will treat you as such. Unlike a real famous person who likely has a social media manager, you're the one who has to deal with the person having a mental health crisis in your mentions or the asshole taking your joke about your cat out of context to call you an animal abuser.
At this point, Twitter is no longer useful. It's time to make alternative plans and step away. Until you reach that point, though, Twitter can be a useful tool, which is why I still recommend it with heavy caveats. It's also worth noting this vile vortex of suck most heavily affects YA writers (sometimes looping in Romance authors), and if you write Adult or MG, you will probably escape the worst of it.
Weigh your pros and cons carefully, but keep in mind Twitter is one tool out of an arsenal of many, and you don't need to use it if it stops working for you.
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spunky-blog · a month ago
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Hot Press: Pierre Bouvier and Nick Champa in Out Traveller
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