This new platform – simply named Bookshop – provides an online space for physical bookshops, authors, and influencers to band together in order to funnel money towards independent booksellers. Money is earned in two ways: by commission, selling through virtual shopfronts or with affiliate links; and through payments from a central pool of profits which are shared out equally to bookstores. A bookstore can earn the full 30% from sales through their shopfront plus a share of that central pool, while Affiliates can earn a 10% commission on each sale they prompt.
Like many indie authors (not all, I hasten to add) I am a reluctant Amazon-user. I distribute my book through Amazon out of necessity – I would lose too many potential readers if I ignored it. (EVERYBODY uses Amazon, and the Kindle is one of the biggest ereaders out there.) So the arrival of a new indie book platform with the express intent of rivaling Amazon feels like a brilliant step forwards.
It sounds like a win-win-win.
However, there are a few less positive opinions of Bookshop.org bouncing around as well. One view is that the platform doesn’t actually help physical bookstores as much as it claims to. It’s still often slightly more profitable for a bookshop if you buy in-store or from their official website, rather than to buy through their Bookshop.org page. It’s also been suggested that all of the Affiliate pages might drown out the shopfronts of actual indie bookstores. While Bookshop.org is intentionally encouraging the bookloving community to jump in and create lists of books and drive traffic towards them, some indie booksellers feel this might be pulling traffic away from their own storefronts.
The upside of this, to my mind, is that every Affiliate sale also contributes to that central pool of funds which is shared among the indie bookstores. So Affiliates like authors and book reviewers – who often use Affiliate links to other book-selling sites anyway – can still earn a profit from their links while ALSO helping out indie bookshops.
Another advantage is that Bookshop.org takes care of fulfilment – they handle the physical work of packaging and shipping the books to customers. As the next lockdown looms large in the UK, this ability for bookshops to go completely (and hopefully only temporarily) virtual is a literal lifesaver to some businesses.
“It has been an utter lifeline. Sales flooded in as soon as we announced our temporary closure.”
So far, it looks like the majority of opinion from the indie community is overwhelmingly positive. Frankly anything that encourages readers away from Amazon – and nudges them back in the direction of local independents – is an idea to be celebrated.
Below, you can see what my Affiliate Author page currently looks like. (Yes, this is an Affiliate Link.) I’ll use it to list my own books and a couple of relevant collections for those who like to know what I read. Anything you buy from my page will earn me a 10% commission, and it will be matched by another 10% which goes towards supporting indie bookshops. But for a much broader and less eclectic mix of titles, you should definitely use the map tool to find your closest indie bookshop and browse through their page as well.
If you’re an indie bookseller, feel free to drop your bookshop.org link in the comments along with an intro to your store. I’ll share the hell out of it where I can. Look out for more posts about indie bookshops coming soon!
Argh, how is it July already?! It was only March a moment ago.
Suddenly it feels like there’s not enough time to finish everything I have planned for this year. Among the many goals I’m working towards in 2020, one of them is to beat my rather modest (that is, puny)number of short story submissions from last year. Whether it’s to magazines, anthologies, or competitions, they all count towards the total.
So, as we’re already halfway through the year, I’m checking in with my current stats:
Number of Submissions: 9
Submissions Declined: 6
Submissions Accepted: 0
(No response yet received: 3)
Yeah, I know it’s not mind-blowing. Other writers out there be submitting in the hundreds. But these numbers do tell me I’m on track for my personal goal. If I do the same again over the next six months, I’ll definitely beat my 2019 record. And next year will be even better. I also want to add for this year:
Submissions Published: 1
Publishing’s a long process, y’all. My short story for The San Cicaro Experience was accepted in December last year. It underwent a long (and thoroughly interesting) editing process, and was finally published a couple of weeks ago in June. (Hurray!)
If you’re in the same boat as me I urge you not to give up, and definitely don’t feel downhearted if your subbing numbers look low. If you manage to sub even one more story than last year, it’s still a success. And frankly, the fact you’re doing it at all is what actually counts. There will be a ton of rejection involved – but that’s what makes us professionals, right? 😉
As well as subbing stories, I’m also in the middle of getting The Jack Hansard Seriesready for print and ebook release this Autumn. Exciting times, but it’s a lot to learn and a lot to do, and it’s all starting to get a bit scary-serious.
If you want to keep up with my progress you can hit the Follow button for my blog (you should find it by scrolling past the bottom of this post). You can also follow me onFacebookandTwitter. I use Facebook more for announcements and writing news, and on Twitter I retweet a lot of folklore and mythology-related content.
It’s also my first ‘official’ traditional publishing credit, as my short story The Hub features alongside seven other strange – and sometimes disturbing – tales written by a team of brilliant authors.
I don’t mean to devalue my self-publishing efforts, but it certainly is nice to get the warm and fuzzies that come with a third party selecting and publishing (and uh, ultimately, paying for) your work.
So, if you enjoy exploring the uncanny – and aren’t afraid of the dark – then consider visiting San Cicaro today.
I feel it would be remiss of me not to write a post about this historic time of global pandemic and national lockdown. It seems like everyone on my social feeds is doing their own live blogs, isolation diaries, and generally reaching out amid the Covid-19 crisis. The snapshots of life across the nation are diverse, yet suddenly intimately familiar as we all, in some manner, undergo the same experience.
The UK’s full-blown lockdown measures were announced on Monday night, just two days ago. For the first time in years I tuned in to watch a live broadcast, with my husband next to me, and my sisters on Messenger, as Boris Johnson effectively told the nation to Stay The Fuck At Home.
There’s not yet a curfew as far as I’m aware, but police can now fine gatherings of more than 2 people (unless you are all from the same household) and a very restrictive list of acceptable reasons for leaving the house has been issued. We’re in this for at least three weeks, with scope for tighter measures and a longer lockdown period ahead.
Despite this, on a personal level, not much feels like it has changed. My daughter is now nine months old, and I’ve been enjoying my maternity leave as a stay-at-home mum for as long as I can. I do now miss my weekly lunch outing to catch up with my sisters, and I WAS just starting to think about visiting my local parent/baby group before all this kicked off… but otherwise, my social life was already a little sparse.
Admittedly, the sudden burst of spring sunshine does have me itching to go out somewhere, and I’m sure others are cursing both the beautiful weather and the lockdown as holidays, celebrations, and all social gatherings are cancelled outright. But we need to remember that this is a time when the actions of individuals really does make a huge difference, and we all have a part to play in protecting our country. (This is probably the most nationalist spirit I have ever felt.)
I saw a meme posted by a friend pointing out that in most Plague Outbreak movies society quickly disintegrates under selfishness, looting, and general chaos. But in the outbreak movie we’re currently living in, though some people are being selfish (hoarders and day-trippers, we’re looking at you), for the most part what people are doing is… consuming art. Creating art. Sharing art.
There’s been an outpouring of musicians, writers, and artists all releasing their content for free; there’s a sudden wealth of free education resources for both children and adults; and communities are banding together (but, you know, at a safe distance) to support their most vulnerable. I see strangers offering up their spare food and nappies, offering their time to deliver shopping to neighbours, offering their talents to keep people entertained.
On that same note, here’s a reminder that Season One of The Jack Hansard Series is completely free to read right here on my website (or over on Wattpad, if you prefer reading on their app). If you like humour and contemporary fantasy it might be the next binge-read you’ve been looking for.
If you’re also a creator offering free content or helpful resources in these trying times, PLEASE do post links below. Spread the love (and not the virus).
With all this sharing and innovation, the internet has never been a more positive platform for social interaction. There are options for staying in touch that I had no idea existed. This week I’m trying out Roll20 to ‘meet up’ with a group of friends to play our regular D&D game on a virtual tabletop. Over the weekend a friend hosted a movie night using Netflix Party. In a couple of weeks it’s my birthday, and I’m wondering whether and how to hold a Skype party.
Another strangely beneficial consequence of lockdown measures is Husband working from home. It’s nice having him in the next room for a conversation throughout the day; for him to enjoy more time with our daughter (he’s done more than one conference call with her on his lap); ultimately, for us all to have more time as a family.
I also know that we’re very lucky. By pure chance we’d done a big shop just before the panic-buying really kicked in, so we’ve not had to worry about scrambling for essentials just yet. We’re not in financial difficulty, though I suppose it wouldn’t take much to push us – or anyone – into dire straits if our jobs suddenly fell through. Just before lockdown I was in the process of arranging with my employer how I was going to return to work; I’m no longer entirely certain that there will be a job for me to come back to.
But that’s a concern for another day. Right here and now there’s a minimum of three weeks of lockdown to get through, and we will get through it together, in spite of being metres and miles apart.
Now, more importantly: How are you?
Let us all know how you’re doing in the comments. What’s life like under lockdown for you? And remember, if you have any art, music, writing, advice, etc. to share, feel free to put those links below as well.
As we stand on the edge of another new year, it seems like a good time to look back on what I’ve managed to achieve in 2019. I’ve always found it helpful when other writers share their submission stats, so I’d like to do the same here.
2019 is the first year I’ve gone on the attack with submissions, so to speak. It’s fair to say I was lackadaisical about it up til last January: I wrote the odd short story and pined for somewhere it could live. No more.
No more staring wistfully at submission guidelines like a far-off lover. No more dreaming of having a story perfect enough to present as a token of my affection. Get it written. Get it sent. Then get it sent again. And again. And again.
So how many times did I get a story sent in 2019?
Number of Submissions: 17
Submissions Declined: 13
Submissions Accepted: 3
(No response received: 1)
Only 17? Dang, it felt like a lot more.
This comprised 11 shorts sent to various literary magazines, websites, and anthology open calls. Some were written specifically for the submission call; many were not; many were tweaked. They ranged from weird horror to dystopian sci fi and contemporary fantasy. In some cases I waited mere days to receive a rejection; in at least one it took six months. 3 out of 17 stories accepted doesn’t sound bad, though.
Oh, wait. Let’s look closer.
2 of those were stories accepted by Storymart, a little start-up that never actually got its feet off the ground. (Here’s the post I wrote about it back when I was deciding whether or not to submit to them.) Storymart’s creator ‘pressed pause’ on the project in July 2019 due to what sounds like a very stressful personal situation.
I hope that things improve for them, and that eventually they’ll be able to return to Storymart in the future. I remain incredibly grateful that they thought my work was good enough to become part of their catalogue, and also that for the story they rejected they provided some very helpful feedback on it – practically gold dust!
The other Accepted Story I only heard about a couple of weeks before Christmas. It’s early days yet so I can’t share details, but all being well, I’ll have my first short story ‘officially’ published in an anthology next year.
I’m so excited! I get a paycheck from it and everything.
(I know, I know, I shouldn’t still measure my worth as a writer by whether or not I’m being paid… but it feels good to say it, damn it!)
I know what I’m doing now, and pressing that ‘Send’ button is no longer such a monumental task. If you’ve been submitting this year, I hope things have improved for you too. And if not, we’ve all got next year to work on it.
So I should probably share the news that has been dominating my life for the last eight and a half months: I’m pregnant, folks. Yep, pretty soon my husband and I will be welcoming a wrinkly little potato-faced creature into the world – god help her.
With the impending arrival less than two weeks away, I started thinking about my experiences of pregnancy, and in particular the effect it’s had on my writing time. Perhaps predictably, my productivity has plummeted: for some reasons I was expecting, and some that came as a surprise. I thought I’d share them for all the other writer-mum’s-to-be out there… congratulations and commiserations to you, by the way!
So here are my top five gripes about trying to write while pregnant:
1. When you miss your coffee.
It’s a ritual for many writers, and I’m no exception – I enjoy my pre-work sesh coffee. I’ve never chain-drunk the stuff like some people I know, but I do now have to think more carefully about whether and when I drink one.
You may already know: your recommended max caffeine intake during pregnancy is 200mg a day, and one cup of (instant) coffee is around 100mg. The eye-opener for me was learning about all the other things I eat and drink that also contain caffeine: Coca Cola I already knew about, but chocolate came as a surprise. Don’t forget tea, if you prefer the more traditionally British of hot beverages.
This means if I have one coffee first thing in the morning, I can’t have one when I sit down to write in the afternoon. If I happen to drink a pint of coke (it’s an occasional treat for me) and gorge on a bit of chocolate, then it’s also probably best to avoid that coffee altogether.
Now, I don’t need coffee to write, but it’s a comforting habit that helps get me in the mindset for it. Especially after a long day at work, a cup of coffee when I get home is a good way of easing my brain back into the idea of doing more work, i.e. writing. Those after-work writing sessions became hella less frequent when I realised my one rationed cup of coffee was more essential to getting me through my regular workday instead.
That wasn’t the only reason productivity took a dive though, as per the next gripe…
2. When you’re too tired to write… all the time.
‘You’ll be a lot more tired when the baby’s here!!’
Thanks. Great advice.
People like to tell you to ‘enjoy your rest’ before the baby comes, but the reality is that pregnancy isn’t all that restful.
I wasn’t prepared for how dramatically the hormones kicked my energy levels, especially early on. It sapped my mood as well as my general wellbeing. One of my colleagues later told me they were worried I was hiding a serious illness, I’d been acting so off.
My morning sickness also hit me quite reliably in the evenings. Trying to write after work was suddenly a complete bust, regardless as to whether I could factor in a cup of coffee or not.
Now that I’m in the third trimester, my lack of energy is down to a lack of sleep. This belly is uncomfortable, y’all. But not just that: the symptom I’ve hated most, and which they don’t tell you about, is sodding acid reflux. Because your stomach is being squished and the muscles are somewhat relaxed, that acid burn is a relatively common feeling, especially at night. I take Gaviscon before I go to bed every evening, and with annoying regularity will still wake up two or three hours later with that same sickly acid in my throat. (Don’t try to give me home remedies, by the way. I’ve tried them all.)
To top it off, for some reason completely unknown to me, I’ve gone from being a person who could happily (nay, ideally) sleep in until midday, to a bloody morning person. Five AM is no longer an alien time to me.
Case in point: as I write, it is presently 5:20 AM. I’ve been awake since around 3:30 AM (woken up by acid, surprise surprise!), because my mind couldn’t stop alternating between drafting this post, and imagining worst-case labour scenarios. Hurray!
3. When your belly gets in the way.
I often sit and write on the couch, with my laptop across my knees. (I know, I know, it’s awful for my posture.) It’s comfortable, and situated in the nicest room of the house. I wish I had a home office set-up, but I lack the space and money. I use my dining table occasionally, but the back room can be a bit cold and dreary to spend long periods in.
So the day my laptop could no longer fit on my lap, I felt really pregnant. That belly has no give in it, whatsoever. So now it’s a delicate balancing act, where if I forget to keep my hands on the keyboard it just might capsize backwards onto the floor.
On the flip-side, I am now saving up for some kind of space-saving desk… Maybe one that fixes to the wall or something.
4. When you’re in the middle of a paragraph and then… you have to pee.
Needing the toilet more is par for the course in pregnancy. But it isn’t half annoying when it interrupts a great flow of character dialogue. Or, quite often, it happens very soon after I’ve settled into my writing groove: I’m comfy, laptop’s sort of balanced, I’ve got some cake, I’ve even managed to factor in the elusive coffee… then bam. Time to get straight back up for the loo.
Another classic is the internal punching-bag effect. ‘Lightning crotch’ is, I discovered, a widely-recognised term for this pregnancy symptom. It’s pretty difficult to concentrate when mid-sentence you might get a sudden twang right in the pelvis because Darling Angel has just decided to headbutt a couple of nerves or kick some of your organs around. Thanks, lovie.
5. When you have even less time to work with.
It’s already difficult to find a balance between your day job, home life and writing, and it’s a struggle I know virtually every writer (unless you’re one of the lucky ones) has to deal with. With a baby on the way, suddenly there are even more jobs that eat into writing time – buying all the baby crap, painting the nursery, figuring out and freaking out about the birth plan…
And if you’re not actively doing something related to baby, you’re thinking about it instead. Do we have enough baby wipes? How the hell do reusable nappies work? What, exactly, is the difference between a pram and a travel system and why does the latter sound like it should come with blueprints?
I’m also very aware that once the darling potato’s here, I’ll have even less time to spend on writing. But there’s got to be a way to make it work. There are tons of successful writer-mums out there: my question to you is… how do you do it?
Feel free to share your own #pregnantwriter struggles in the comments – and any tips you have for overcoming them! New-Mum-Writers out there – do you have any advice for those of us expecting? What are the new challenges you face trying to write while looking after a newborn? Am I being too optimistic to think I’ll have any time spare to keep up with writing? ^_^;
And if you’re in the same boat as I am: remember to take care of yourself, and best of luck to you and your potato!
Lately I’ve been pursuing publication for some of my short stories, and I feel I’m settling into a good rhythm of submissions and rejections. My current goal, at its barest bones, is to be paid professionally for a piece of my work. A lofty one, I know. Anyone familiar with writing submissions knows just how low the acceptance rate is (I rather like this author’s breakdown of their submission stats, for context) and I know I’ll be waiting a long time for that elusive payout.
However, I came across an intriguing opportunity for short story writers recently. It’s called Storymart.
Storymart is a reader subscription service aimed at lovers of short stories. The creators envision a Netflix-like model, where the reader’s monthly subscription gives them unlimited access to the site’s story content which is provided by writers all over the world. And the writers, rather importantly, get paid.
However, the platform is very new. In fact, it’s not yet open to reader subscriptions as they are still in the process of gathering content from writers. This makes sense – why ask readers to pay for content that doesn’t exist yet?
I’ve been mulling over the concept for a while now, and to help me figure out whether I want to jump onto this infant bandwagon I decided to lay out my thoughts in a simple Pros and Cons list…
Pro 1: Storymart offers curated content to readers.
The platform practices a submissions process which promises to narrow stories down to those which are of a high enough quality – I’ll give you their own definition of what that means:
Welcome words for writers tired of the bellowing halls of Wattpad-esque establishments, where readers and writers alike are drowning in angsty vampire/werewolf/shapeshifter romances, invariably set in a highschool and demonstrating varying grasps of the english language.
The website seems to promise short stories worthy of appearing in established literary publications like The New Yorker, and so they are actively encouraging writers to only send their best.
Con 1: Storymart does not edit any of the content.
This might be a Pro if you hate other people fiddling with your words. In any case, it’s worth noting that submissions are expected to be polished upon entry, and you shouldn’t expect any hand-holding from Storymart in that respect.
How harsh their submissions standards really are is something that remains to be seen – we probably won’t truly know until the site launches for readers. Obviously there’s also chance those submission standards might lower over time. Will they stick to their principles further down the line?
If you’re a writer who has submitted to Storymart, what’s your view on this? Did they accept everything you sent them; did they give feedback on rejections?
Pro 2: They accept previously published stories.
If you’re in the business of trying to submit to professional markets, then hopefully you understand why this excites me. The majority of submissions guidelines invariably prohibit writers from submitting previously published work, whether it was in print, online, another magazine, a competition, or on a personal blog. This is a barrier I find intensely frustrating: it seems as though once I put a story out there, anywhere, then that’s kind of it for the life of that work. This is what’s putting me off submitting to the huge number of magazines which offer no payment to authors – I’d love the chance to be seen by your readership, but if I do then I effectively give up the prospect of being paid professionally for that story.
(Side-note: I know ‘re-prints’ of published work are sometimes presented as a submission option at a vastly reduced pay rate – and I’d be interested to know how many writers have any success submitting under this category.)
Storymart offers a chance to put some of those one-offs back in front of paying readers. Say you have a competition entry that didn’t win, but was good enough to place on the shortlist and got published online. This might be a way to give new life to an already-proven story.
Similarly, once you’ve placed a story on Storymart, there are no restrictions on where/when you can publish again. A lot of publications will, for example, require that you don’t re-publish your story for a specific period (typically 3-6 months) after it has appeared on their own platform. This means you can publish a story on Storymart and then continue to submit it anywhere else you choose. Of course, this does immediately throw up the very obvious…
Con 2: Publishing on Storymart counts as publishing.
If you put a story on Storymart, it’ll run into the exact barrier I was bemoaning above. Other publications may reject it out of hand for already being published.
However, the site is still in Beta stage for the moment. So I suppose during this window where it isn’t open to readers, you still have the option of removing your work from Storymart if it does find a home elsewhere.
Another counter-argument for this is…
Pro 3: Storymart is a paying market.
It runs (or will run) on a pay-per-read model.
Readers will pay a monthly subscription of $4.99 to have unlimited access to as many short stories as they want to read. Every time a story is read, the author is paid $0.10 USD. Payments will apparently be made monthly, via Paypal.
Con 3: The author is only paid $0.10 per read.
That means a hundred people could read your story over a period of months… and you’d only earn $10 for it.
But wait, let’s compare this to other industry prices…
Based on various bits of advice and my current experience hunting suitable markets, my perception of a ‘professional’ short story rate is around $0.06 per word. However, realistically there are also a very large number of publications offering much less (eg. some that offer around $0.02 per word; some that only offer a flat fee in the $20-50 range per story) and of course an abundance of completely unpaid opportunities that nevertheless offer exposure to their already-established audience.
Let’s go on the lower end and consider a 5000 word story which is paid $0.02 per word = a flat fee of $100 for that story. With Storymart’s model, you would need 1000 people to read your story to earn $100 from it.
I suppose the question is… are you confident your story will get at least 1000 reads?
This is where it gets interesting. Instead of receiving a one-off payment, there’s the potential to accumulate money over time… a very LONG time. Remember, if you only get ten reads a month, you’d need to wait 8-9 years to earn that $100.
At the moment we have pretty much no data to look at to determine what a realistic number of reads per month could be at Storymart. Could be in the hundreds – a hundred reads per month would take less than a year to earn the $100. Or it could be in the tens, and the payoff becomes minimal.
At least the principle is simple: the more readers you have, the more you earn. This will then probably be down to the individual author to market the shit out of their work to gain those consistent reads. And in order to get those reads you need…
Pro 4: A captive audience.
This, theoretically, is the big draw for writers at Storymart. Readers subscribe because they want to read short stories. They are, in theory, readers as opposed to other writers – which is a flaw I think is endemic of many fiction platforms (Wattpad, I’m looking at you).
I hold the apparently unpopular belief in wider publishing that short stories are an extremely under-rated and oft-forgotten (despite being popular) genre of fiction. I can’t fault the idea of pushing new ways to make short stories more accessible, and a platform dedicated to them sounds somewhat ideal.
Con 4: Currently, a small audience.
Here’s something that only time will illuminate further. At present, Storymart is still in Beta stage. That means it is actively seeking story submissions from writers, but is not yet taking subscriptions from readers. As I said, I’m a big believer that short stories are a vastly underestimated market, and there definitely is a passionate audience out there for them. But, will that audience choose to pay a monthly subscription, when there’s so much short fiction available for free elsewhere?
One response, I suppose, is that readers do already pay for subscriptions – to all those short story magazines I’ve been submitting to. That’s what the professional paying market for short story writers is.
Pro 5: The chance to grow alongside a growing platform.
Wouldn’t it be great to discover the next big thing while it’s still shiny and new and has opportunities ripe for the taking? Before the big boys muscle in and the playground gets swamped by thousands of other voices all peddling their own fantastical narratives?
At this early stage, while the audience might be small, the pool of writers is as well. Would that, potentially, make it easier to be discovered? To snap up the interest of new readers as the platform grows? Getting in early could make all the difference to growing a presence and a following, and if Storymart grows and grows and grows… well, it’s an exciting thought. But, therein lies the risk.
Con 5: The whole thing could flop.
Storymart isn’t quite on its feet just yet. Readers could flock to it in their thousands… or they could give it a passing glance and shrug, and go back to their tried-and-tested tenders of online fiction instead. There’s no data to look into yet, so your guess is as good as mine as to whether or not Storymart will still be here in a couple of years’ time.
But, even if it isn’t… what have I got to lose?
This is the thought I keep coming back to.
The main ‘Con’ which seems to bother me is that publishing a story with Storymart might restrict any future opportunities for that piece of work. But if that story isn’t being accepted anywhere else anyway… and let’s face it, the odds are massively stacked against us in submissions, simply due to the sheer mumber of other stories we’re competing with… well then, what’s holding me back but myself?
I’m not convinced that Storymart won’t have the same problem as other publication routes further down the line. If they do grow successful they’ll probably find their own inboxes at breaking point eventually, despite their best intentions to give submissions the quickest turnaround possible. More reason to jump in early, perhaps?
I suspect I’m overly cautious when it comes to making these kinds of decisions. I’ve doubtless missed opportunities just for fear that it might not be The Right One.
Wouldn’t it be better to earn a few dollars from a story – and to know that it’s actually being read and enjoyed by people – than just letting it languish in the ‘Submissions’ folder on my laptop?
I think what I’m saying is that I’m going to jump in. Because, really, what have I got to lose?
What are your thoughts on the Storymart concept? Just another online magazine subscription, or the Netflix-inspired service they aspire to? Are there better alternatives already out there?
If you’ve submitted stories to Storymart, I’d love to hear from you! Why did you choose them? What’s your experience been like so far?
If you want to read more about Storymart, their FAQ section for writers is here.
A little update here on The Jack Hansard Series. Thanks again for sticking with me – we’re making steady progress! I know it’s proving to be a long wait, but I promise the end result will be worth it. I know it’s a bit dull to just hear ‘I’m editing’ over and over again, so I thought I’d give you all a little insight into what I’ve been working on, and exactly what ‘editing’ the series means in practice.
For a start it involves…
The original version of the series (still available to read for free on An Inspired Mess and on Wattpad) is written over 20 episodes. The final version will be just 15.
Wait! Don’t worry – nothing’s been cut, just condensed. The original episodes were written and published on a fortnightly basis, and realistically I could only churn out up to 5000 words in that time. This meant that several stories got split over separate episodes, and the episode lengths weren’t consistent. So you’d finish reading a satisfying 5000 word episode, to then stop short at the end of a 3000 word ep like: ‘Where’s the rest of it?’
So I’ve been working on evening out those word counts, and putting full stories into one episode wherever possible. For example, remember where Jack first meets Ang in Ironbridge? This was needlessly split into two episodes – there’s not even a proper cliff-hanger to lead from one to the other! So now they are joined together in one seamless story to be enjoyed without any interruption.
What this also means is I’m…
Adding New Content
Some of those stand-alone episodes are still too short, especially near the beginning of the series. You see, when I started out my episodes were only 2000-3000 words each, but as the series developed the characters found their voices and the plots became more rounded, demanding longer stories to see them through. You can see this in the explosive Phoenix finale, which took a whole five episodes to complete!
So I’ve been adding in extra details, and occasionally whole new scenes. Remember Episode 1, where Jack gets cornered by Scallet and makes a lucky and quick escape? The story no longer ends there. You now get to see a fraction of London’s underworld as Jack goes on to encounter an old ‘friend’ at the Black Friar and… I won’t spoil it for you.
A bizarrely shaped building, the Black Friar took up a corner of Queen Victoria Street and had a habit of playing tricks on the eyes. Viewed from the side, it appeared as a long, unrealistically thin building. From the front, a V that seemed to occupy more space than was possible. Rows upon rows of art nouveau windows gave the impression of crowded bedsits built for high society. And, naturally, there was a statue of a jolly black friar with his pudgy hands folded over his stomach, beaming down from his spot right above the front door.
You can also expect more interactions with characters like Ang, Officer Jo Neills, and Mark Demdike. Oh, and the lovely Devin Tracey gets a much-needed spot in the limelight as well. You might recall he’s the devilishly handsome Irish siren from episodes 8-10. It always bothered me that I never wrote him a proper purpose other than to act as a sounding board at the Market. Why have a siren if you don’t get to glimpse their ability in action? So you can expect just that – a glimpse.
But unfortunately, as well as adding I have also been…
Alas, it is necessary. But again, don’t get too concerned. The whole point of editing is to cut details that the reader won’t miss, like clunky, slow dialogue or a lengthy portion of exposition that would be better used later.
Perhaps one of the biggest chunks I’ve cut so far is from Episode 6: Cockermouth where Jack’s internal monologue became horribly clogged up with an explanation of his different types of customers. It was awfully long-winded and not really relevant to the situation at hand – so now it’s transformed into a much more enjoyable argument with Ang over the subject.
‘He falls into the ‘spurned lovers’ category of our demographic, Ang,’ I said knowingly. I ignored her mouthing ‘Demo-what?’ under the table. ‘Desperate people, angry people, these are our favourite customers. They have an axe to grind and I’m here to provide the grindstone.’
I should also say that if you’ve read the series’ most recent iteration on Wattpad (or here on An Inspired Mess after January 2017) then you’ve missed most of the drastic cuts already. The version currently published online is actually the second draft, which had an extensive overhaul of its own. So don’t worry – you won’t recognise what you don’t miss.
On a more cheerful note, editing also involves…
I suspect this is what a lot of people think editing is, while forgetting about the dirty work of necessary cuts and story structure. Technically all of editing is a refinement, but here I’m talking about the more enjoyable, low-level edits that are designed to just make the writing easier to read.
These are usually quite simple changes, a matter of phrasing and word choice to make a sentence read more smoothly. Also checking grammar and consistency – you won’t believe how long I agonised over what form my ellipsis should take. Google did not give me a straight answer.
Would you believe that in publishing it’s usually a matter of house preference? Some publishers will put the ellipsis in the middle of words like this … while others will join it on, like this…
Yet others will use a spaced out ellipsis like this . . . which was always my favourite until I discovered it caused no end of formatting problems online. A comically simple, but frustratingly time-consuming issue to overcome.
This is always the most important part of any editing process, and it feeds into everything I’ve outlined above. A lot of self-published authors apparently pay for professional editors to proof read and critique their work – but I’m afraid I cannot even slightly afford such services. So I did the next best thing: assembled a pool of people I trust to give me real honest feedback and help pick the series to pieces. They played a large part in shaping that initial, harsh edit.
This second round of editing is largely influenced by the voice of genuine readers; that is, people who came to read the series because they wanted to, not because I asked. If you’ve ever left a comment or shot me a private message about an episode – whether it contained praise or criticism – you can guarantee that I’ve considered carefully how it should impact on the writing.
On this note, a general tip for other writers out there: heeding feedback is not the same as always following feedback. As your spidey senses develop, you begin to learn how to differentiate – when to follow the advice of others, and when to follow your own instinct. But don’t throw out criticism just because you disagree with it. First, try to understand where that criticism is coming from, why you disagree, and then why you might be wrong.
So that’s where we’re at, guys. I think I’m about two thirds of the way through this process, and I’ll let you know when we’re close to publication. If you’ve been wondering, the series will be available through Amazon Kindle as an e-book later this year.
Thanks for reading! If you liked this post you might also enjoy:
Dominique Lane has been the An Inspired Mess artist since the website’s creation – and she’s behind every piece of Jack Hansard artwork you’ve come across. If you follow my Facebook or Twitter channels then you’ll have seen all the previews, behind-the-scenes, and extra illustrations that she’s created. Right now, Dom is working on the book cover design for Season 1 of The Jack Hansard Series. (Yup, we’re publishing.)
So it’s about time that she had a proper introduction, don’t you think?
Dom and I go waaaay back. We met in high school and were both the right kind of weird. We split to different ends of the country for university, but our weird followed us around and made sure we were never too far from each other in spirit. She studied Computer Animation and Special Effects to get a formal qualification to tell the world that she was able to do the thing she has always been able to do: make art like a badass. She now lives the happy (but poor) life of a freelance artist. Let’s ask her what that’s like…
1. Hey Dom, what’s it like being a poor freelance artist?
“Honestly? It can sometimes suck! It takes a lot of hard work and the ability to meet tight deadlines. But if you’re very organised and confident, I think you might be able to turn it into a steady job. My first freelance work came to me out of pure luck, but those opening jobs turned into repeat customers. Getting that initial experience can be the hardest – but most important – part.
Not that there’s a long line of people knocking on my door with projects, by the way. I enjoy having a lot of free time, but that isn’t very ‘adult’. And I don’t have quite the same freedom I wish I could have with a big bank account…”
2. What’s your favourite project been so far?
The Jack Hansard Series of course ;D
3. All right, suck up. Favourite paid project?
It’s difficult to say what my favourite job has been. I’ve done quite a lot of storyboard projects that illustrate how a concept would work in practice – and there have been a couple I was quite excited to work on because I’m a big fan of the franchise. I was super excited to storyboard a project that was related to Halo 5 early on in my career.
One of the most enjoyable was a project that asked me to design two playable characters for a phone app – which is now live in Dubai. I’m particularly proud of that one!
4. What’s your biggest artistic influence?
Ha, that’s a bit of a difficult question. I don’t think there’s a single name that I’d pick out above others.
Back in school I was really into anime (you’ll know this, Georgina) so that was one major influence on my art while growing up. I started by mimicking Sailor Moon to – well, every other anime out there? By college I’d developed different cartoony art styles which continued into university. It wasn’t until I started to really push myself out of my own comfort zone that I began to improve.
Since then I’ve drawn inspiration from countless artists and works – if I encounter a new, even completely unknown artist that inspires me, I try to learn from their style. It’s not about copying, as I used to at school. It’s about understanding how they draw and learning to evolve my style to match.
5. Do you have a favourite style or medium to work in?
I’m not sure about a favourite style: I certainly have one I’m comfortable in that I tend to drift back into when I’m doing super rough sketches. These days I try to push myself towards a more realistic art style. All about pushing out of that comfort zone, y’know?
I usually work with Photoshop, mainly because it’s quicker. I’d like to spend a lot more time doing watercolours though. I find even if a watercolour is done terribly, it still somehow looks lovely!
6. What advice would you give to other aspiring artists?
The same advice that I ignored for ages! Suck at cars? Draw some cars. Suck at faces? Draw the hell out of dem profiles and 3/4 views!
Seriously, push yourself out of your comfort zone. When I finally made the effort, I improved leaps and bounds in skill. It also improved my confidence – which is the main thing that often holds me back.
I’m still far from perfect; I still have a lot to improve on. It SUCKS that it’s a slow process, but it’s worth it to build yourself up to a level you can be proud of.
Also, be kind to yourself. If you want to get yourself out there, join some online communities for support. And don’t get discouraged if you’re not becoming famous in a few months, it takes a bit longer than that ;D
All images in this post belong to Dominique Lane. If you want to see more of Dom’s work, check out her portfolio and her recently opened shop!
When writers consider publishing options there are two main routes that spring to mind: you either go traditional, or you go it alone. But the world of publishing isn’t as firmly divided as you might think. Among the host of options available to authors, crowdfunding is now one of them – and prospective publishers are beginning to take notice.
Unboundis one such publisher, and they’ve got a great twist on the crowdfunding trend. Like a traditional publishing house, you must first submit your book proposal for approval. If you are accepted, then the fun begins: you launch your crowdfunding campaign.
If you’re familiar with Kickstarter (and it seems most people are, these days) then you already have a good idea of what this entails. You pitch your book idea to potential readers and do your utmost to persuade them to pledge funds towards your book in return for rewards. Rewards usually include a digital or physical copy of the book, and the more creative authors offer things like exclusive artwork, manuscript tutelage – and in some cases a date with the author themselves!
If you manage to hit your target, Unbound step in to provide all the services you’d expect from a traditional publisher. Editing, graphic design, printing, distribution, and marketing is all covered by the Unbound team.
To find out more about this process I spoke with Erinna Mettler, an Unbound author who successfully met the crowdfunding target for her short story collection Fifteen Minutes, and is now in the editorial phase. She gives us an insight into her experiences so far:
Erinna, why did you choose to publish with Unbound?
“It’s extremely hard to find an agent or a publisher in the UK for short stories unless you are already a known writer. It’s a great shame really but agents simply won’t look at new collections and most publishers aren’t that keen either. ‘Come back when you’ve written a novel’ (preferably a crime thriller – with ‘girl’ in the title!) is the way most queries get answered.
I was sick of trying to get an agent. I think that short fiction writers have to work a lot harder than other writers to get published. We’ll try anything.
A fellow author told me about Unbound. I had a look at their website and was sold in minutes. They have a promo video explaining the way they work and it says something like ‘authors write the books they want to write and readers get to read real books that in a crowded, celebrity-obsessed marketplace wouldn’t normally get to see the light of day.’ I sent my manuscript in immediately.”
What was the toughest part of the process?
“Getting the pledges was definitely the hardest part. It took four months in all and it was a full-time job – or at least every spare minute was spent in the pursuit of pledges. At the same time you have to be mindful of bugging people too much. It’s a fine balance. You spend a lot of time explaining what crowdfunding is and why you can’t just publish the book without it.
Family and friends are your first point of contact and for the most part they were very accommodating. The generosity is astounding, you get pledges from people you don’t expect – but then you also get no response from people you think will be right behind you. Some people say they’ll pledge and don’t.
You have to learn not to take it personally. I only had one very rude reply from someone who was on a professional mailing list, telling me off for begging and hoping the project failed; needless to say it just made me more determined to succeed. One of out a few hundred isn’t so bad.”
How did you approach the challenge of reaching your funding target?
“I thought it would be a lot easier than it was. I have a lot of social media followers. I co-run The Brighton Prize for short stories and a spoken word group called Rattle Tales and we have a considerable mailing list. I’m also in a professional group in Brighton called The Beach Hut Writers. I’ve got a lot of contacts but after the second round of emails I was no-where near even half way, so I had to go all out.
I sent out press-releases and got on local radio and had a short film made about the project by Latest TV. I wrote articles for craft magazines and websites, did blog interviews, got short stories placed in literary journals. I called in any favour I could think of.
For me though, Twitter was the key. I’m a writing mentor and my biggest pledge options were for manuscript appraisals. A Twitter friend mentioned that I should be pushing these rather than the short story angle I’d been going for and after a day of constant tweeting I’d sold about £800 worth of mentoring. I carried on with what I’d been doing, but those big pledges are the ones that make the real difference to your percentages.”
Does a writer need to already have a strong fan base in order to be successful with Unbound?
“I don’t think it’s absolutely necessary but it helps. I had quite a good fan base but I still struggled, so if you are starting out from scratch it could be very soul destroying. My advice would be to start as soon as you can building a social media following, blog regularly, comment and converse, go to events, be bold.”
Fifteen Minutes is now in the editorial stage as Unbound prepares it for sale. What has it been like to work with Unbound through this process?
“It has been an incredible editorial experience. They give you a lot of encouragement if you ask for it at the early stages of the funding but don’t expect them to do the work for you, this is about you being able to raise the funds. Once the funding target was met I had a couple of weeks to submit because the manuscript was as ready as I could make it.
It’s been edited 3 times now, each one more in depth than the other. I’ve had two editors look at it. I agreed with most of the suggestions but not all. It’s a collaboration and the book is a million times better than it was before the edit. We have cut whole stories and changed POVs and the order is completely different. The book is at proof reading stage now but I haven’t seen any cover designs and I don’t know when it will be released yet.”
Your first book Starlings was produced by indie publisher Revenge Ink. Crowdfunding aside, how has your experience of publishing with Unbound differed, if at all?
“There’s not that much difference: both are indie publishers and both had a subversive take on publishing, their aims being to push boundaries and publish books that otherwise wouldn’t be.
In both cases things moved very fast. With big companies it takes over two years to get the book out, whereas both of mine will have taken less than a year. You need to be prepared – one minute you’re waiting for emails and the next your book is coming out next week.
The edit was less stringent for Starlings and Revenge Ink had very little money for publicity. I was so new to it all then: now I know that to make it work I’ll have to be responsible for my own marketing. Unless you are already a big name, most authors have to undertake their own marketing as budgets for new authors are almost non-existent.
I had a strong relationship with Amita, the MD of Revenge Ink, and she was nothing but supportive. The Unbound team are all very enthusiastic and really help you move forward with the project. I’m hoping the book will get a little bit more publicity this time.”
In the race to gain pledges, you’ve essentially done all of the sales work so far. How will Unbound help sell your book after publishing?
“Fifteen Minutes is an e-book so I’m currently teaching myself how to market an e-book. I have to wait until there’s a review copy available to send out to reviewers, journals, radio stations. It’s the usual dive-in strategy. There will be paperback copies available for events and signings. I’m hoping Unbound can help with contacts that might get the book seen.”
Is there a community of loyal Unbound readers? People who look out specifically for new and interesting Unbound projects, in the same way Kickstarter has a strong base of funders who are very attached to the platform itself?
“I went to the Unbound birthday party in November and they had invited their top pledgers to come along and meet their authors. It was great talking to them; they are completely committed to this kind of publishing. If you look in the back of the books the same names do keep coming up. Some people will only be drawn to the author they know, but I think more and more are going to be drawn to the crowdfunding concept and to the idea that this will be the place where interesting books are distributed from.
If you mention Unbound to anyone in publishing the praise is almost universal. The company is only five years old so it’s early days, but their sales are increasing year on year.”
Fifteen Minutes by Erinna Mettler is a collection of short stories about fame and how it affects ordinary people.
Often the famous have only a bit part in the tale of an ordinary individual, existing just outside the action but still influencing the outcome. From the story of a tramp in New York on the day John Lennon was shot, to a doctor remembering a childhood visit to a Muhammad Ali fight, and a woman’s obsession with Harry Potter following the death of a child. The collection is experimental, cinematic, moving and always thought provoking. You can support Erinna’s book by making a pledge through her Unbound page.