T.R. Robinson's Blog, page 32
February 28, 2017
Publishing with Kindle
[image error]Disclaimer: Other than utilising their systems for the publication of books, neither T. R. Robinson nor T. R. Robinson Publications are employed by, personally connected with or affiliated to, Kindle or its parent company Amazon.
Note: The information contained below is primarily intended for new and inexperienced authors. Those familiar with self-publishing will probably not find anything they do not already know.
Readers, please note; this is only intended to be an overview of the processes for publishing with Kindle. Further, detailed, information and guidance may be found within the Kindle publishing site. Nevertheless, to provide an adequate overview, the post has to be longer than normal. The writer hopes, new, inexperienced, authors will find the following helpful.
Create an account
If the author does not already hold one, they will have to open an Amazon account before they will be able to proceed.
The following information will be required:
Valid e-mail address or mobile telephone number. Once entered the user will need to tick the panel stating ‘I am a new customer’. Further panels will then be presented.
Password: Remember, for security, to create a unique password rather than utilize one already in use elsewhere.
Full name/Company name: Decide how this should appear publicly and enter accordingly.
Country: Where user is resident.
Postal address: Required for legal and tax purposes. (More about tax at the end of this post.)
Telephone number: If one already entered as part of the initial signing-up process, this panel will probably be pre-filed. It may be changed if desired however, the user should remember to use the original one when subsequently signing-in.
Once the account information has been processed, the author’s ‘Bookshelf’ will be presented. In order to commence the publication process, the ‘Add New Book’ option will have to be clicked. The user will then be asked to add/complete relevant details.
Title Information
Book name: Please note – though a book cover title may comprise all uppercase letters and may also include miscellaneous characters (!; ?; #; etc.) it is not possible to enter them here. Enter the title without them and remember this is how the book will be identified within the author’s ‘Bookshelf’ ‘Dashboard’. This has no impact upon the actual digital cover that will be displayed.
Sub-title: If the book has a sub-title enter it here. This is not a ‘required’ field and may therefore be left blank if there is no sub-title.
Volume Number: Usually applies to books in a series. Leave blank if not applicable.
Edition Number: Naturally, the initial publication will be ‘1’. ‘2’, ‘3’, ‘4’ etc. come into play when there have been ‘substantial’ subsequent amendments to the manuscript. It is left to the author to enter the appropriate number when relevant. It will be a personal decision but when the amendments are only minor the author may choose not to change the edition number.
Publisher: The author is usually identified as the publisher when it comes to Kindle e-books. Nevertheless, they may choose to name their company (if they have one) or some other person or organisation as the publisher. They should remember whoever is entered here will be identified as the publisher on all public sites and in perpetuity. The author should therefore take time to think about what they want for the future.
Description: Enter the book’s synopsis.
Book Contributor: Enter author name (as it will be shown on books) and the names of any co-author(s).
Language: The language the book has been written in.
ISBN (International Standard Book Number): If a paperback edition has been created DO NOT ENTER ITS ISBN HERE! In addition to other information an ISBN identifies a book’s format; paperback, digital (e-book); audio. Consequently, the ISBN for a paperback may not be utilized for a digital edition. Kindle books, well any digitally published book, do not have to have an ISBN. In the case of Kindle, Amazon (the parent company) offer an ASIN (Amazon Standard Identification Number) which are recognised by all book systems. For most self-publishing authors an ASIN is adequate, especially as it is free: many indie (independent) authors have little in the way of resources. The only restriction; this edition of the book may only be retailed through Amazon’s sites. This does not mean the author cannot make their book available through other retailers. They would simply have to publish a different edition with them e.g. Smashwords, Barnes & Noble, iBooks etc. Each will allocate their own, free, identifier. Of course, if an author wishes to make the one edition available across multiple retail sites, and they have the means, they may purchase a group of ISBNs and allocate them to their books as they see fit. But as said, for most the ASIN is more than adequate.
Verify Publishing Rights
As a rule, an author will be able to tick:
‘This is not a public domain work and I hold the necessary publishing rights.’
Throughout there are good guidance notes and here is no exception. Simply put, if a work is in the public domain e.g. already available without license, an author cannot claim any rights with regard to it. However, if the book is an ‘original’ creation of the author’s they will be able to claim publishing rights to it.
Target Book Customers
Categories: This is the equivalent of the BISAC (Book Industry Standards and Communications) utilized for physical editions (Hardback and Paperback). It basically identifies genre and sub-genre, helping readers to find books they may be interested in. Getting this as accurate as possible is important because it will impact upon the visibility of a book.
Age and Grade Range/US Grade Range: Only relevant if a book is specifically aimed at children or young adults or if it contains ‘adult’ material. Very important with the latter that it be identified as such. Not to do so may result in a book being ‘pulled’ and the author penalised or blocked. Non-US citizens will need to either research or ask for guidance regarding how US Grades and ages correspond. Unless one or more of the above applies this panel may be left blank.
Search Key Words: Six are allowed. These are words/short phrases the author thinks readers may enter when searching for a book. They should think hard before entering as these could have quite an impact upon a book’s discoverability.
Book Release Option
The author may either tick ‘I am ready to release my book now’ or enter a future date. The decision is the author’s.
Cover
This is where the digital edition of a cover is uploaded. Note: The pixel requirements for paperback and digital editions are different i.e. they are of differing intensity.
If the cover is not ready the author may save the information entered so far and logoff. In fact, this may be done at any stage. They may return and continue where they left off once the required elements are to hand.
Book File
Manuscript: This is where the final manuscript will be uploaded. By this stage the author should have followed the guidance notes for creating a Kindle edition incorporating such things as an interactive contents table and bookmarks. They should have also proof-read, edited and checked the manuscript file multiple times. Most formats are acceptable e.g. .doc; .docx; .mobi; .epub; .pdf. In addition, if the final manuscript is less than 50 megabits, .txt and .html may also be acceptable.
Digital Rights: Again there are clear guidance notes which the author really needs to read. Principally this determines how people may use the book e.g. give their copy away, lend it, share it, etc. Most will usually tick the panel stating ‘Enable Digital Rights Management’. But they must ensure they understand what is involved because once the book has been published this may not be changed. The author’s ultimate decision will depend upon how they wish to publicise/market their book.
Preview your book:
As soon as the manuscript file has been uploaded the Kindle system will start to convert it. It does not take long and as soon as it is complete a message will be displayed usually asking the author to preview their book. If there are an issues with the file, the author will be notified.
There are two options: either to preview on-line or to download a pre-view copy. The on-line previewer is recommended because it enables the author to see how the book will appear in multiple devises. Bare in mind, not only has Amazon released a number of different Kindle devises and tablets but there are also a vast number of other reading devises available to readers.
Note 1: If not already held it may be necessary for the author to download appropriate Kindle software onto their device.
Note 2: The book title, author name and some other details will not be displayed here but will appear in the final book.
If the author finds errors, they may logoff at this stage. Once corrected/amended they may return and upload the new file and go through the pre-view process again.
Once they confirm the file is okay they may proceed to the next stage.
Verify Publishing Territories
This is where the author decides in which territories they would like their book to be available. The choice may be as long or short as they choose. However, most, wishing to give their book as wide exposure as possible, select ‘Worldwide Rights – All Territories’.
Pricing & Royalty
Royalty: Here the author has the option of choosing their royalty plan: 35% or 70%. Note: Some territories default to 35% in which case the author has no option but to accept. Presumably this is related to localised legislation and tax regulations.
Pricing: The author has the option of determining the set price for different retail outlets e.g. Amazon.com; Amazon.co.uk; Amazon Australia; etc. There is the option, if the author wishes to avail themselves of it, to request guidance. KDP (Kindle Direct Publishing) will, if requested, provide guidance upon what it considers an appropriate price by comparing the uploaded book against similar books. How well this works the writer does not know as they have never utilised it. There are guidance notes available.
Book File Size
Once the manuscript has been uploaded and approved the system will display the file size in kilobits and page number. These may prove useful in some marketing events.
Kindle Match Book
Never used by the writer. Authors should read the guidance notes to see if this option is for them.
Kindle Book Lending
This is usually ticked by default. Something Amazon likes to utilize.
ASIN (Amazon Standard Identification Number)
The unique ASIN allocated to the book will be displayed here. Make a note of this as it will be required for selling purposes. It is also useful for when directing readers, fans or acquaintances to the Amazon book page.
Submitted date
The date of final submission i.e. when the book became available will be displayed. Useful for the author’s own records.
KDP to Paperback
KDP, as at the time of writing, has a facility, currently in beta testing, to translate a Kindle edition to paperback. The writer has not availed themselves of this option and may not therefore comment from direct experience. The following is a resume of comments and observations made by others in social media discussions:
The option really only provides a ‘vanity’ copy authors may use to show off their work to friends and relatives. It does not effectively take the place of a paperback published via CreateSpace.
The author has little control over the layout. The system can change fonts etc. May look all right but may not be what the author had originally been looking for.
The new system has limited facility for additional features such as appendices.
Once published KDP will remove book from CreateSpace. Authors must decide for themselves if this is acceptable.
The price of a book created through KDP is less than one generated through CreateSpace.
There is no ‘direct’ customer service. Most is by e-mail and tends to be of the automatic ‘canned’ style. Whereas, the CreateSpace customer service is consider good.
It appears most prefer to publish their paperbacks through CreateSpace and utilize their conversion system for the Kindle edition. See ‘Publishing with CreateSpace’ for an overview of that system.
Roundup
The above is only intended to be an overview to assist new and inexperienced authors to commence publication of their digital edition books. Within the Kindle system there are many helpful guides and notes authors may, and should, avail themselves of. Provided the author does not try to rush matters the process is reasonably straight forward and within the grasp of most.
Tax: No matter where an author is based or a book sold, tax is always payable. The author will have to complete a tax form. Further information and guidance regarding tax and tax forms may be found here.
February 24, 2017
Eighteen Months To Live by Rachele J. Baker
[image error]This in many ways is a unique book that to some extent belongs in its own category. It certainly cannot be described as ‘conventional’. ‘Memoir’ covers it to some degree but in reality it is far more. This is one woman’s account of how she battled and lived with an unusual cancer after having been, eventually, told she had one to eighteen months to live.
Initially, with the constant talk of medication Midge Rylander (the protagonist) was taking as well as the pain she suffered, a reader may become concerned this may turn into a tedious read. However, it is anything but.
This is a very human tale recording what to many would be a bitter experience. Indeed, it was bitter but Midge Rylander does not allow herself to become embittered. She makes clear in her journal she chose to record her daily experiences in the hope of it helping others. A very generous attitude as it must have taken a lot of effort at times. In many ways it was also a brave thing to do.
The reader will discover a woman who wants to be honest but at the same time wishes to spare readers too much of the horrific distressing details. She is also very honest about her desire to overcome the disease by means of positive thinking, hope and, sometimes, denial. Many would probably behave similarly if faced with such a destiny. Her sense of humour also comes through as she deals with those hopes and expectations. The fact she had always been a determined character is evident; she continues to plan a future especially with regard to her garden and the forthcoming birth of a grandchild. The reader cannot help but admire her.
Sometimes Midge mentions family upsets which stressed her and how these impacted negatively upon her condition. It would have helped the reader if the narrator, Rachele Baker, Midge Rylander’s daughter, had added a little background detail with the earlier incidents. Later Midge herself, remember the book is predominately her diary, does add a little more when recounting subsequent similar occasions. These make the read more interesting and avoids the reader being left to wonder and guess at what had been going on.
An attribute of the book is the way Midge Rylander mixes everyday events with a record of how the pain affected her and how the medications helped, or not. This indeed forms a unique diary in which she shares her hopes, expectations, frustrations and disappointments. It is particularly sad she was not provided with more information about her condition and what to expect. This of course is a primary reason for her keeping the journal; so others, whether a patient or relative, would not have to go through the experience blindly.
As mentioned this is a very human account, in which many aspects not solely related to cancer are also shared and discussed. Many are applicable to other life experiences. Anyone who is themselves or has someone suffering serious illness, let alone terminal, together with consultants and doctors would benefit from reading this book. Consultants and doctors in particular should take time to understand what their patients are experiencing and, more to the point, what they want to know. For those who are fortunate enough not to be in or facing any such situation this does make for an informative and eye opening read. As mentioned previously the book does not only relate to cancer. It also provides insights, should the reader take the time to see them, on how to deal with life’s ups and downs as well as recording the difficult frightening times and situations a sufferer faces.
This is an emotive and emotional read. It is comprised of honesty and humanity together with clear explanations and information. It is a book most would benefit from though it is not an easy read. It is sad and distressing at times but also reveals a human, genuine character who really is not that different. Four stars (4*).
Rachele Baker is to be thanked for fulfilling her mother’s wishes by having the courage to publish this book.
The book is available as an e-book:
About the author:
Dr. Rachele Baker is a veterinarian and writer living in California. She has been a veterinarian for over sixteen years. She is currently in the process of writing a series of short books about medical problems in dogs and cates. For more details, visit her website: http://rachelebaker.com
February 21, 2017
Metadata
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What is Metadata?
‘Data about data.’ (Unknown)
‘A set of data that describes and gives information about other data.’ (Unknown)
‘An underlying definition or description.’ (Unknown)
The word ‘meta’ comes from the Greek for ‘after’ ‘beyond’ but in this context is used to mean ‘about’.
Metadata, in one form or another, has always existed though the term did not come into such general use until recently. Beforehand it would have been termed something like ‘a record’, ‘an index’, ‘a listing’, ‘a catalogue’ or similar. For example: before computerisation libraries used card indexes to record details of all the books held.
Principally, metadata is information created and/or stored during the configuration of a book or product.
What comprises metadata?
Books are primarily under consideration here nevertheless, many of the points made will apply to other products.
Basic elements:
Title.
Author.
File size.
Cover.
Additional elements may include:
Genre (e.g. Thriller, Romance, Memoir etc.).
Subject (e.g. Women, Travel, Family, etc.).
Description.
Publication date.
BISAC (Book Industry Standards and Communications).
ISBN (International Standard Book Number).
Page count.
Keywords.
Colours.
Retail site(s).
Etc.
Metadata primarily consists of anything that describes a product and its availability.
Is metadata important?
The answer is an unequivocally resounding YES.
Metadata is pivotal to discoverability (find, come across, locate, stumble upon, bring to light). Without it readers/consumers are unlikely to come across the book or product when carrying out a search.
Remember, technology is enhanced and improved on a daily basis. The improving web and greater integration of software enables metadata to be more easily processed, analysed and shared across the internet. It is therefore important for a book or product to have good metadata.
How is metadata used?
Principally, in these days of rampant technology, it is used by search engines (‘a program that searches for and identifies items in a database that correspond to keywords or characters specified by the user.’ (Unknown)) to assist in locating a book or product the searcher may be interested in.
A list of the books/products/sites found is displayed to the searcher who then has the option of clicking on an item to investigate further. The metadata included with a book or product usually determines whether a search engine will display a link to it. What is displayed is then often primary in a searcher’s decision of whether to follow the link or not. Great care must therefore be taken when creating metadata.
Metadata is universally used.
Books.
Publishers.
Businesses.
Websites.
Blogsites.
Social Media.
E-mail providers.
Music software.
Technological products.
Just a few examples. The list is endless.
How is metadata created?
Automatic: Some is automatically created by systems when a book or product is uploaded or added. Most automated data simply comprises the basic information. See under ‘What comprises metadata?’ above.
Manual: Though the automatically created data may be adequate for a searcher to find what they are looking for most authors/creators will want to do all possible to raise the profile of their product. This is where manual creation comes in. It is usually added when the product page is first created. For self-published books this is when the author completes the panels presented to them by the software system they are using: e.g. Kindle, Smashwords, CreateSpace (see ‘Publishing with CreateSpace’ to gain a clearer idea of what this comprises).
What to include?
The author/creator needs to bear in mind users of search engines may enter almost any word, phrase or list of characters. For books this could be: Subject; Genre; Keyword; Author; Title; ISBN; etc. These could be as simple as ‘Women’; War; Abuse; Thriller; Suspense; Africa; etc. As always the list is endless.
The person adding the information also needs to change perspective and view the matter from the searcher’s point of view. Not always an easy thing to do. Authors have spent endless days, months and perhaps years creating their ‘masterpiece’ and will no doubt have adopted, probably subconsciously, a certain view of it. They now need to step back and adopt the position of a potential reader:
Who are they? (The author’s target audience).
What needs do they have?
Do they have questions looking for an answer?
How do they make decisions?
Where and how may they be reached?
What they are looking for?
What words or phrases will they use?
Of course the above is part of identifying a readership or audience, which is another topic not the subject of this post.
What is entered should: Be of the highest quality possible; Be actionable (enable the user to follow through); Provide clear information. It must be remembered metadata impacts upon all that surrounds a product. For example, the name and description of a website. Some have tried to pack their websites with search engine friendly words in an attempt to get it to show up in a variety of searches though it may not in truth be relevant to the topic searched. Search engine organisations became aware of this and subsequently changed the algorithms utilized. Understandably, the content of these is now purposely kept undisclosed. It does no favours to anyone for people to abuse the systems this way. The metadata should be restricted to what is relevant otherwise the author’s reputation and that of their book(s) will be damaged. Once lost it is hard to recover a reputation.
With books it has been suggested authors take greater care when drafting the blurbs (synopsis) so as to include metadata that will register in search engine results. Makes a lot of sense, though again they should take care to ensure it is relevant. In addition, links to the author’s various sites (Web, Blog, Facebook, Twitter, Goodreads etc.) may be included in the ‘back’ material of a book. Again it should be ensured these are relevant e.g. not to other sites they may be associated with but are not relevant to the book or product.
Conclusion
There is much more that could be discussed in relation to metadata. However, this is simply intended as an overview, with some guidance upon how to approach the matter. The main principles are:
Metadata is very important to any business. (Selling books is a business).
The author/creator needs to consider the product from the reader’s/consumer’s point of view.
Accuracy and relevance are vital.
Of course as much information as possible should be included in the metadata: the more there is the more the book or product is likely to show up in searches and elsewhere. But it cannot be emphasized enough it must be relevant!
It will be noted there are no suggestions as to the words, phrases, categories, etc. to be utilized. Each book/product is unique, even if it has similarities to others. The author, together with any advisors they work with, must decide upon the final choice of terms. Of course they may look at similar books but in the end, and if they want to make their book as discoverable as possible, they must reach their own conclusions. However, remember it is very easy to lose a reputation and extremely hard to regain it once lost.
February 17, 2017
Linda Kovic-Skow – Interview
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Welcome Linda Kovic-Skow
author of French Illusions; and
French Illusions – Book 2 – Tours to Paris.
(There are links to both books at the end of this interview.)
Please tell us a little about yourself.
Originally from Seattle, I currently winter in Gilbert, Arizona and spend summers on a boat in the Pacific Northwest Waters of Washington and British Columbia. I’ve been married for 30 years and I have two daughters. I am an enthusiastic traveler, but I also enjoy hiking, boating, reading, gardening and socializing with friends.
What first inspired you to write?
In 2007 after my husband and I dropped our youngest daughter off at college, I went through a sort of mid-life crisis. I missed being a mom and I wondered how I would fill the void. Something was missing—but what? This prompted me to review what I like to call my “mid-life list.” This is similar to a “bucket list,” but instead of exploring things to do before you die, you refocus yourself, while you’re still relatively young, and figure out the things you want to do in your fifties. My list was short.
-Learn to play the piano.
-Travel to Africa to see the elephants.
-Travel to Tahiti and see the island of Bora Bora.
-Write a book.
At the time, I didn’t own a piano and, with two daughters in college, I couldn’t afford a trip to Africa or Tahiti, so I decided to hunt down my diary from my au pair adventure in France and compose a memoir. I’d told the story on numerous occasions, and the reaction from friends and family was often the same: You should write a book! Now, I finally had the time. It took me three years and countless hours to write the first book in the French Illusions Series, and a few more to write the second, but now I can scratch another item off my mid-life list.
In what genre(s) do you prefer to write?
Memoir, but I’d like to branch out and write a novel one day.
Are you working on another book?
There is nothing in the pipeline right now, but I have a few ideas for future books. Before my mother passed in August of 2014, I recorded four hours of her recounting her life story. She was born in the United States, but her parents took her back to Croatia as a young child, and the family endured enormous hardships during World War II. I think this would make a great historical novel. I’m also considering another memoir about my unusual childhood, something like “Growing up Linda.”
Your books have obviously required research. What do you consider the best resources?
I have to admit writing my memoir was a lot more complex than I initially imagined it would be. My diary offered a great outline of the events, but I had to create the dialog from memory and fill in hard-to-find data on the Loire Valley, the Loire River and the town of Tours from 1979. Internet searches produced most of the information and travel books supplied the rest.
Do you consider your book(s) convey messages to readers?
Set in the beautiful Loire Valley, my memoir will remind older readers what it was like to be young, adventurous and filled with dreams. Younger readers will relate to the difficult decisions women make as they transition into adulthood. My hope is that both of these groups will come away from my book realizing it’s not too late to create your own memories. Go out and explore the world. Life’s for living, after all.
What advice would you give to authors who are just starting out?
Hire a professional editor. I mean it. You can’t edit your own book. You won’t see the mistakes because you are too close to the writing. It will cost you a few hundred dollars for a line editor, a bit more if you need some in-depth editing, but it’s the best money you will ever spend. I cringe every time I read a negative review where the main complaint is editing. You want readers to judge you on the content of your story.
How do you go about marketing your books?
There are many good marketing websites available to authors, but Goodreads is at the top of my list. I have set up numerous giveaways and joined various Goodread’s groups to promote my memoir. Thousands of readers flock to this site daily and I believe it’s essential to have a strong presence there.
How important do you think reviews are? If you consider reviews important, how do you go about obtaining them for your books?
Reviews are essential, especially for self-published authors. There are hundreds of indie books coming on the market daily and reviews help readers feel confident about their choices. As an indie author, I worked hard to obtain my initial reviews. Just after I published my first book in the French Illusions Series, I participated in a blog tour. This resulted in some great reviews. I also sifted through dozens of Amazons top reviewers, emailed them and asked for honest reviews. Only a handful replied, but it was well worth the effort. Over time, as I promoted my books, offering them for sale on sites like BookBub, organic reviews slowly materialized.
While on the subject of reviews, I would add that no matter how well-edited and well-vetted your piece of work, some people will not like your story. There is nothing you can do about it. Once your book is published and you give away or sell a bunch of copies, you will eventually receive a negative review, and it will hurt your feelings. It never ceases to amaze me how people can be so cruel with reviews, but once you become an author, it’s a fact of life you must live with.
Please share with us links to where readers may obtain more information and insight into who you are.
N.B. Linda kindly provided the list of links most of which are self-explanatory. Nevertheless, explanatory comments have been added for clarity.
Linda’s personal website: http://lindakovicskow.com/
Interesting blog in which Linda shares experiences, thoughts, recipes etc.: http://lindakovicskow.com/blog/
Facebook page: https://www.facebook.com/lindakovicskowfanpage
Twitter account: https://twitter.com/LindaKovicSkow
Goodreads account: https://www.goodreads.com/book/show/23368537-french-illusions
Amazon author page: http://www.amazon.com/Linda-Kovic-Skow/e/B009PORWR6/ref=dp_byline_cont_ebooks_1
Thank you Linda for sharing your journey, inspiration and experiences with us.
Book links:
Click on the retail site of your choice to access the relevant book page.
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If interested, you may read T. R.’s review here.
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February 14, 2017
Reviews – What Wanted?
[image error]Book reviews will primarily be under consideration here nevertheless, several of the principles mentioned will apply equally to reviews of other products.
What are reviews?
In effect these are an extension of word-of-mouth recommendations or warnings which, most will agree, is the best vehicle for such communications. However, in these technology led days it must be acknowledged social media e.g. Facebook, Twitter, Google etc. are not only extensions of but often replace face-to-face, word-of-mouth, interaction. Whether or not this is good for society is another topic not the subject of this discussion.
Who are reviews for?
Are they for the author/creator of the product or for the purchaser/consumer? The reply frequently depends upon who is being asked. To answer the question accurately the purpose of a review needs to be addressed. In principle a review is usually posted/published as a means of assessing the effectiveness; value; relevance and adequacy of a product. It follows therefore they are most relevant to prospective purchasers/consumers. Of course that does not mean an author/creator cannot learn from them. Reviews frequently enable them to see where there may be shortcomings or omissions or a need for further development or improvement, etc. They may also be encouraged when they have got matters right and are given praise for a good quality book/product.
What is wanted from a review?
As stated at the start, the perspective for this discussion is primarily that of books. The following are a combination of common-sense and reader/author observations. Remember, though the following points principally apply to book reviews some will also apply to reviews of other products.
Honesty: Far and above anything, everyone, readers and authors, want the reviewer’s truthful and sincere opinion.
Clarity: Not a long winded resume that says little about the actual book or product.
Details: Brief overview of the book without simply regurgitating the synopsis and avoiding the inclusion of any spoilers (giving information about the content that will spoil it for potential readers).
Likes/Dislikes: The personal observations of the reviewer. Except for technical/tutorial books reading is a subjective experience. Readers of a review like to know how the book impacted upon the reviewer as an individual. Naturally, as each person is different, there may well be inconsistency across multiple reviews.
Quality: All reviews, no matter the product under consideration, should reflect upon the overall quality. For independent, self-published, books, grammar and editing are important aspects potential readers like to hear about.
Style: With books the; style of writing; originality; character development; plot structure; etc. are relevant topics potential readers will be interested in.
Comparisons: How does the book or product compare to other similar books/products.
Value for money: Self-explanatory.
Rating: Virtually every site, social media or business, tends to incorporate a rating system (usually stars) that may act as a quick overall reference for the readers of a review. Further information about ratings may be read here.
Language (Terminology): Reviews should be courteous and polite even if negative. It should be born in mind anyone may read a review including such people as elderly ladies and children. Bad language is not necessary and actually reflects more upon the reviewer than the product.
Recommendation (Optional): Both authors/creators and readers/consumers, appreciate an honest, personal statement by the reviewer: Hopefully a recommendation. Of course, it may be they cannot recommend others purchase the book/product. Though this should have become obvious in previous comments, the reviewer may, if they wish, add a recommendation not to buy. This is a personal decision.
Conclusion:
Reading is primarily a subjective experience. Consequently, one person’s perspective and appreciation, or otherwise, may be very different to another’s.
Authors/creators will often state what they would like from a review. Of course anyone who has produced something likes to know how it is received. But the reviewer, as well as the author/creator, should bear in mind who reviews are for (already discussed above). Much may be learnt by the author/creator but that should almost be incidental.
A general observation: The number of reviews given compared to purchases is normally very low. This may be frustrating for an author/creator but they should avoid badgering people to leave them. A gentle, innocuous, request, included at the end of a book, on a website or as part of a publicity/marketing event is acceptable but nothing more.
Note for Authors: It appears even indie (independent) self-published authors fail to post reviews of fellow author’s books they have read. Rather poor considering they expect others to post reviews of their books. It is simply common courtesy and respectful to take the time to write and publish a review.
February 10, 2017
Things I Am Ashamed Of by Nicholas Clee
[image error]Naturally by their very nature memoirs are retrospective. This one certainly is. But it goes further than simply recording the author’s past life. Or simply entertaining the reader. Nicholas Clee honestly faces up to how he has behaved. Yet he does not stop there. He seeks to understand why he behaved as he did on various occasions. Sometimes it is not so much his behaviour but his values, prejudices and compliances that are considered.
This is an honest analytical look at underlying reasons and/or motivations. Most readers will find at least one, if not more, incidents that touch on their own lives. It may become a little uncomfortable at times; when a reader realises they have behaved in a similar fashion. But there is the saving grace of the author then explaining why people sometimes act the way they do. Not only does he draw from his own life but also from those of famous and well-known personalities.
In some ways this could be referred to as an intellectual memoir. However, that does not mean it is boring, highbrowed or beyond anyone with an average IQ. It is in fact a very interesting read. It does not follow the standard format of most memoirs but this does not detract. Readers should be aware it is not a very long read: ninety-one pages.
The book is very well written. Not surprising, bearing in mind the authors experience as a journalist and editor. Nevertheless, the reader will appreciate finding themselves plunged straight into the story from the very beginning. There is no unnecessary preamble or background detail. There are a couple of times when the reader may feel the author has spent a little too long enlarging on a theme but these are rare and may be attributed to him wanting to ensure a specific point is fully clarified.
As previously said this is not a standard memoir. Nevertheless, it is recommended to anyone interested in absolute honesty and who has a desire to understand what underlies some of their fellow citizens’ behaviours.
Being a non-standard memoir the readership for it is probably limited when compared to those presented in the more usual style. Nonetheless, it is, overall, an enjoyable read. Four stars (4*).
The book is available in digital format as an e-book:
February 7, 2017
Copyright
[image error]What is copyright?
‘The exclusive right to publish or record a work.’ (Little Oxford English Dictionary)
‘The exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material.’ (Unknown)
Copyright applies to ‘intellectual property’. This encompasses such things as: Names of products or brands; Inventions; Design or look of a product; Things written, made or produced.
History
Regulation of the publishing industry was first established in England with the formation of the Worshipful Company of Stationers in 1403. It was initially responsible for establishing and enforcing regulations. Later it also took responsibility for regulating and disciplining the industry. In effect an early version of the modern day ombudsman, watchdog or regulator. This regulating of the industry however, did not provide copyright protection as we know it today.
Copyright as we know it came about with the advent of the printing press and wider literacy. King Charles II became concerned because publishers were now able to copy books as they wished, completely unregulated. He therefore passed the Licensing of the Press Act 1662. This in effect is when the principle of modern day copyright came into being.
Why is copyright necessary?
There are a number of beneficial factors. The United Kingdom (UK) Government website provides the following statements.
‘Having the right type of intellectual property protection helps you to stop people stealing or copying:
the names of your products or brands
your inventions
the design or look of your products
things you write, make or produce’
And:
‘Copyright prevents people from:
copying your work
distributing copies of it, whether free of charge or for sale
renting or lending copies of your work
performing, showing or playing your work in public
making an adaptation of your work
putting it on the internet’
These examples cover the issue adequately for most.
How is copyright obtained?
Copyright is usually incorporated within national legislations. Consequently, the conditions tend to vary from jurisdiction to jurisdiction.
As a rule, copyright is granted automatically upon the creation of something in a ‘tangible’ form. Note: copyright is not applicable to the originating idea. For example: The ideas an author had for their story, whether fictional or actual, have no protection. It is only when produced in written form; book, pamphlet, on-line and so-on that copyright may apply.
It used to be required, for copyright to be applied, the originator include a copyright notice with their product e.g. the © symbol combined with a name and year. As copyright is now considered to be automatically granted upon the creation of the protected material the inclusion of this notice is no longer considered necessary. However, it is sensible and wise to always include such a notice as it would help if a plagiarism (the copying of someone else’s work and presenting it as their own) case has to be brought. Without it the accused may claim ignorance. Apparently, in some such instances, the eventual award in a proven case has been less because of this omission.
The format of such a notice is left to the copyright holder. There are no hard and firm rules, though there are recommendations. The notice may simply consist of the symbol, name and year though in the majority of instances, at least when it comes to books, there are additional statements regarding reproduction, lending, format etc.
How is copyright protected?
Unlike patents (the design for a new invention) for which a registry exits there is no such registry in the UK, nor in many other jurisdictions, for the registration of copyright works.
There are a few alternatives such as asking a notary public to date the material or depositing a copy of the work with a bank or solicitor. In all these instances a fee will undoubtedly be payable. This may be an issue for the independent (indie) creator as most have little in the way of resources. There are also some private companies who hold unofficial registries. Again a fee will be payable and before handing money over the creator should carefully check what they would be paying for. In all instances the aim is to establish an originating date. The most popular and widely mentioned method is to use the postal service as explained next.
Postal service protection (Often referred to as the ‘Poor Man’s Copyright’): This is where the creator sends themselves a copy of the work by some method of recorded delivery. For this to be effective the following are important:
The package must have a clear date stamp on it. (A legally recognised date of possession is vital in any infringement or plagiarism action.)
The package MUST be left UNOPENED. (Opening it would allow for an accusation of manipulation or replacement.)
Those who use the postal method need to be aware there is no real support for the method. But, it is better than nothing and may come into its own if some valid cases are brought. Of course, for indie creators cost may again be an issue as there is no such thing as a cheap court case. Note: These actions do not come within the jurisdiction of a small claims court.
Overseas protection?
Methods for protecting copyright within the creator’s own jurisdiction have been discussed above. But what about protection within other jurisdictions?
International agreements: Most jurisdictions have established or signed up to an international agreement. For example: The Berne Convention for the Protection of Literary and Artistic Works. Article 1 [Establishment of a Union] states: ‘The countries to which this Convention applies constitute a Union for the protection of rights of authors in their literary and artistic works.’ Consequently, the creator of a work is granted the same rights of protection as they hold under the legislations of their resident jurisdiction. Where a jurisdiction has not signed up to or established their own international agreement the creator will need to check whether any relevant legislation exists within that jurisdiction.
Library of Congress: In the United States of America (USA) a creator of a work (author or otherwise) may, for a small fee, deposit a copy of their work with the Library of Congress. This provides a record of the work along with notification of the creator’s right of copyright if attached. It is not necessary for such a notice to be included but it obviously makes sense to add it. Note: The library is NOT a copyright registry. It is simply a depository. Naturally, it makes sense for a creator to lodge their work but they should not make the mistake of thinking such lodgement provides an indefensible right of copyright. If there is an alleged infringement or accusation of plagiarism it will still have to be upheld in a court of law.
Non USA citizens may apply to lodge a copy of their work with the Library though there is some debate as to whether it would in any way prove beneficial if they have to bring a case. Such a deposit would provide a record but whether it would be worth the fee and effort is in doubt as other jurisdictions will more than likely require evidence recognised under their own legislations.
How long does copyright last for?
Copyright commences as soon as a work is created. Once copyright has expired anyone may use the work.
In most jurisdictions copyright lasts for the lifetime of the creator plus fifty years. However, within some jurisdictions this was recently increased, for written, dramatic, musical and artistic works, to the lifetime of the creator plus seventy (70) years. Authors should note this latter period now applies to their newly created books.
Copyright may be sold or transferred as well as transferred by means of inheritance. This will not impact upon the period of protection; the new owner will still only hold the rights for the same original period i.e. lifetime of original creator plus seventy years.
Conclusion
Naturally, there is a lot more to the topic but here it is only intended to provide an overall appreciation of copyright law and how to benefit from it.
Some indie creators may question if it is worth all the bother and effort to establish their right of copyright. In the writer’s opinion the answer must be Yes. The internet has vastly changed matters. There are many rogue sites and, sadly, many dishonest people who look to take advantage of innocent, inexperienced or naïve creators. For example: Several authors have found their books offered for free download on sites they have not granted a licence to or even submitted a copy of their book to.
Copyright legislation is complex and vast. It can be onerous, costly and stressful to prove an infringement. It is also frequently outside a copyright holder’s means to take the matter to court. Nevertheless, establishing a copyright can be helpful. For example: some abuses are conducted in social media outlets where the creator may contact the relevant corporation and request the material be removed and/or the false originator blocked from using the site further.
If a creator has to prove their right of copyright and/or bring a case, they are advised to consult an appropriate legal advisor.
February 3, 2017
Martha Ashwell – Interview
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Welcome Martha Ashwell
Author of:
Celia’s Secret
(A link to the book will be found at the end of the interview.)
Please tell us a little about yourself.
I was born the second of four children and educated in Manchester. I have worked in the world of banking, social services, industry and education. Following my training as a social worker, I worked as a child care officer and later as a counsellor and intermediary for young adopted adults. I am married to David and have two sons and a daughter and four grandchildren. I began writing seriously after my retirement. I am a member of the Manchester Irish Writers and the Historical Novel Society. To date, I have published my memoir. Other works of poetry and prose are published on the Manchester Irish Writers’ blog.
What first inspired you to write?
For many years, I had wanted to write my story about the impact which a family secret had on my life. Writing my memoir provided me with a way of analysing and evaluating my experiences in order to work through a process of reconciliation.
In what genre(s) do you prefer to write?
My first attempt at writing has been non-fiction; my memoir. I’ve also enjoyed writing poetry, prose, short stories, anything which gives me satisfaction and conveys a message to the reader. Sometimes, the format will take off on its own, and what starts as a piece of prose becomes a poem. I’m happy to write in any genre and would like to remain free from categorisation.
Are you working on another book?
Currently, I am working on a series of children’s stories in collaboration with my daughter, Clare, and on a poem for the Manchester Irish Writers’ project which will be performed in March at the Manchester Irish Heritage Centre.
Another major project is an historical novel set in Northern Ireland.
If your books have required research: What do you consider the best resources?
I believe in thorough research for all my projects. This involves knowledge of similar works in that field so I read around the subject, gathering information about the social, economic and political background, historical facts, literary comments, personal accounts etc.
My main resources are: libraries, the internet and personal interviews. Personal knowledge and experience also play a part.
Do you consider your book(s) convey messages to readers?
Yes and my ability to convey a message is very important. I want to engage with my reader and pass on to them something of my own knowledge and experience. I would never seek to be patronising in any way and what I convey as a writer needs to be extremely sensitive and restrained.
For example, my memoir is about understanding, acceptance and reconciliation. It was important for me to communicate the concept of reconciliation to myself and to my reader. Therefore, I have explored the process of making peace and restoring harmony through understanding. It is about putting blame aside and accepting forgiveness as a healing element in the restorative process.
What advice would you give to authors who are just starting out?
Find a subject you believe is worth writing about. Perseverance and tenacity come in useful too. You may not get it right first time but continue to try, continue to write. Draw on your own motivation and self-confidence as a writer and see what you can achieve.
Biographies, autobiographies, memoirs: What advice would you give, about using real names and descriptions, to authors who write in this genre? I ask because many raise concerns about the issue.
As the author of a memoir it was important that I maintained confidentiality for family members or anyone who would not wish to be named. Therefore, I used false names for the majority of the characters. I used authentic names for places and for other people who would not be affected by disclosure. I described places and situations as truthfully as possible.
Do you self-edit or do you think a book should only be professionally edited?
I self-edited my memoir through many drafts but on reflection feel that I might have benefitted from professional editing. The proofreading element can be achieved fairly easily by engaging friends or family to check for errors. However, content editing is much more difficult and would probably require a more impartial approach.
The main objective is to achieve a professional outcome.
How do you go about marketing your book(s)?
My memoir was self-published so I didn’t have the usual marketing and promotional services that I would expect from a traditional publishing deal. I’ve found the following methods most helpful:
Promotions: book launch, talks at book clubs and women’s groups.
Interviews: Radio, TV and online.
Newspaper and magazine articles.
Reviews.
Libraries: donation of free copies to local branches.
Amazon page.
Author’s personal Website.
Author’s personal Facebook page.
Manchester Irish Writers blog.
How important do you think reviews are?
Reviews are important, particularly critical reviews at the pre-publication stage.
If you consider reviews important, how do you go about obtaining them for your book(s)?
Since publication, I have obtained a small number of reviews by personal request from other published authors and from those readers who have been kind enough to post reviews of my memoir on my Amazon book page. I have also received informal reviews, several of which I have included on my website.
Do you have a preferred genre for when you read?
I am very eclectic in my reading choices but I love classical American and English literature, historical fiction, biography, memoir, philosophy, religion and spirituality, self-help, contemporary fiction and poetry.
This is an age old question but one I consider of interest. If you were stranded on a desert island, which three books would you like to have with you?
The Bible
‘The Leopard’ by Giuseppe Tomasi Di Lampedusa
‘A Month in the Country’ by J. L. Carr
Please share with us links to where readers may obtain more information and insight into who you are.
Martha’s website: http://marthaashwell.co.uk/
Martha’s Amazon Page: https://www.amazon.co.uk/Martha-Ashwell/e/B014UU3VNS/
Facebook Pages:
https://www.facebook.com/martha.ashwell/
https://en-gb.facebook.com/people/Martha-Ashwell/100010530992428
Manchester Irish Writers Blog – Martha is a member and has contributed:
http://manchesteririshwriters.blogspot.co.uk/2016/06/irish-soldier-of-somme.html
http://manchesteririshwriters.blogspot.co.uk/2016/06/both-sides-of-divide-poem.html
Thank you Martha for sharing your experiences and knowledge with us.
Martha’s Book:
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If interested, you may read T. R.’s review here.
January 31, 2017
Publishing with CreateSpace
[image error]Disclaimer: Other than utilising their systems for the publication of books, neither T. R. Robinson nor T. R. Robinson Publications are employed by, personally connected with or affiliated to, CreateSpace or its parent company Amazon.
Note: The information contained below is primarily intended for new and inexperienced authors. Those familiar with self-publishing will probably not find anything they do not already know.
With the majority of self-publishing platforms, systems and sites primarily focusing on digital editions it is easy for indie (independent) authors to forget a fundamental fact: approximately sixty-five percent, perhaps more, of readers prefer physical books i.e. paperback, hardback. Further information regarding this may be found at here. Authors should therefore seriously consider having their books available in both formats. CreateSpace provides one of the platforms where this may be done. An added attraction: It is free to use!
The following is only intended to provide an overview of the processes for publishing with CreateSpace. Further, detailed, information and guidance may be found within the site. Of necessity, if this is to be of any real use to new and inexperienced authors, this post is lengthy, far more so than is the usual case for posts within this website.
Each aspect of the CreateSpace process will now be considered in order of presentation.
Create an account
First and foremost, an author needs to create an account. They will have to provide:
A valid e-mail address. This will be used for logging-in and for communications.
Remember, for security, to use a unique one rather than utilize one already created for other accounts.
First name. This will depend upon whether the account is being opened under the author’s actual name or under a nom de plume (pen-name).
Last name. Same condition as for first name above.
Where resident. A dropdown list is provided.
Type of media. A dropdown list is provided. Naturally, an author will select ‘Book’.
The information entered should be carefully checked before the ‘Create My Account’ button is clicked. The process is fairly quick. A unique numerical author ID (identification) number will be provided. This ID is for the named author and not for their books; each book will be allotted an individual ID.
Once the account set up has been confirmed it is possible, though not necessary, to proceed straight to the setting up process for a book. Of course the same applies for those using CreateSpace to create other media.
At this stage the author is invited to partake of various options including joining the CreateSpace community. Whether to accept is very much a personal decision however, at this stage, the author has enough to concentrate on. It is suggested they wait before making a decision; they may subsequently come back to these options at their convenience.
The author will now be presented with a list of high level categories. Many have sub-categories some of which are broken down into further elements.
Setup
Title information:
Title: Please note – though it is permissible to use miscellaneous characters (!; ?; #; etc.) in a title it is not possible to enter them here. The title has to be entered without them and the author needs to remember this is how the book will be identified within the dashboard.
Sub-title: If the book has a sub-title it should be entered here. This is not a ‘required’ field. The panel should be left blank if there is no sub-title.
Primary Author: The panels will be pre-filled with information provided at account creation. It is possible to amend this if necessary e.g. change a complete first name to an initial. The name entered here should be the same as that under which books are to be published e.g. Abigail Rosalind Morgan or A R Morgan or A. Morgan etc. This is completely at the author’s choice but should be consistent for all books.
Add contributors: If there has been a collaboration of authors this is where to add their name(s). The panels should be left blank if there are no additional authors to credit.
Series Title/Volume: Self-explanatory. This should be left blank if the book is not part of a series.
Edition Number: Naturally, the initial publication will be ‘1’. ‘2’, ‘3’, ‘4’ etc. come into play when there have been ‘substantial’ subsequent amendments to the manuscript. It is left to the author to enter the appropriate number when relevant. It will be a personal decision but when the amendments are only minor the author may choose not to change the edition number.
Language: Enter the language the book has been written in. A dropdown list is provided. This information is required for retail listing purposes.
Publication Date: This may be left blank. In this case the publication date will ultimately be shown as the date the author finally approves the book for publication. However, the author may amend this to a future date if they are preparing a pre-launch campaign or simply wish to hold back upon publication for some other reason.
ISBN (International Standard Book Number):
The author has the option of accepting a free ISBN from CreateSpace or of using one they have purchased. Three elements come into play here: Who is to be identified as the publisher; Cost; Book availability.
Who is to be identified as the publisher: A free ISBN will identify the provider, CreateSpace in this instance, as the publisher not the author. In the majority of cases this is of little consequence but see point 3. If the author feels it necessary to be identified as the publisher, they will have to purchase a ISBN; see point 2.
Cost: Most indie authors have little in the way of resources and consequently wish to keep their expenditure to a minimum. ISBNs are usually sold in blocks of ten at a price many would find off-putting and perhaps out of their reach. Nevertheless, they need to consider point 3.
Book availability: A free ISBN means the book may only be sold through the ISBN provider’s site. For example; a free ISBN from CreateSpace means the book may only be sold through them or Amazon: CreateSpace is an Amazon company. The author will not be permitted to make the same edition of the book available through other retailers e.g. iBooks, Google Play, Barnes & Noble, etc. If an author really feels the need to make the paperback/hardback edition available through other retailers, they will have to purchase and utilize their own ISBN.
Further background information regarding ISBNs may be read here.
Interior:
Trim size: This is usually prefilled with 6 X 9 which appears to be a United States of America (USA) preference. Nonetheless, the author is given the option to select a different size. There are many options each designed to suite the variety of markets available; most territories have a general preference. For example, within the United Kingdom (UK) 8 X 5.5 or thereabouts appears to be the preference. Of course the nature of the book also has to be considered e.g. children’s books are normally published in large formats. The author will also be asked to decide upon margins. Most will require text to terminate before reaching the edge of the page however, this would be different for books containing many images like those relating to photography. In these instances, the text/images will reach right to the edge of the page.
Paper: This will be prefilled with ‘white’. An author should not glance over this and simply accept the default of ‘white’. Any casual examination of book shelves will reveal ‘cream’ is a consistent choice. If the author wishes their book to ‘look’ professional and to fall within normal accepted parameters, they are advised to select ‘cream’. This may impact upon the eventual cost of the paperback/hardback but most will acknowledge it is sensible and preferable to opt for cream.
File: This is where the author will upload their final manuscript file. The system allows for different formats: word; doc; docx; rtf or PDF nevertheless, a PDF with imbedded fonts tends to be a preference.
Most authors will have prepared their book either utilizing Microsoft’s Word or Apple’s Pages. However, it may be of interest to some to know CreateSpace also provides ready programmed templates. Within these there is the additional option of utilizing formatted or unformatted versions. If the author decides to use one of these they will have to select the one that meets the trim size already decided upon. The templates are easy to use and provide a visible image of how the book will look in print. It is simply a matter to copy/paste into these. One point to note: sometimes the formatting of the last paragraph within a chapter or section gets thrown out. For example, if the text being copied has been justified (i.e. margins are equal on both sides) the system sometimes alters the last paragraph to left justification (i.e. level on the left but staggered on the right). It is a simple matter to correct this by highlighting and applying whichever justification the author requires.
Helpful Tips & Ideas: These provide valuable advice upon how to prepare files in an acceptable format.
Cover:
Finish: There are two choices – Matte or Glossy. This is primarily down to personal preference however, cover design images should be considered; the finish can impact upon appearance. There is no hard and fast rule. One point to be aware of; colours, especially the darker ones, usually come out darker when printed.
Creation:
Caveat: Though this option is presented at this stage it is not possible to fully proceed until the later review process for the books interior has been completed. Why? Because the author needs to know the page count before selecting a cover template.
The author may create their own cover utilizing CreateSpace’s system with their own images. Apparently this is a fairly easy system.
Alternatively, the author may upload a readymade cover. Unless, they are a digital artist these have usually been purchased from elsewhere. They will usually need to download and provide the appropriate template to the artist.
If they would rather not bother with either, creating a cover themselves or paying for a professionally created one, authors may utilize a free readymade cover from CreateSpace. However, they need to be aware these covers are available to all and consequently, there may be numerous books with the same design meaning their book will more than likely not stand out in an already overburdened market.
Complete setup:
It is important the author now takes great care to check all the details entered before submitting their book. Though all aspects may be amended later it would not reflect well on an author or book to constantly have to make changes.
Review
File Review: The author should have carefully checked their final file before reaching this stage. If not, they should logoff and do so. They may sign back in at any time and reload the file; the information already entered will be retained within the system.
When uploaded the manuscript, in whatever format, will be quickly submitted into the CreateSpace system. Once it has been processed, and providing there are no serious anomalies, the author will be requested to review the content.
Proof Your Book: This may be done in two ways.
Digital proof: This option downloads the CreateSpace’s excellent digital proof system. The content is presented in a format that looks very much how the book will appear in print. The author may then flip through each page and check format, page numbering etc. If necessary, the author may return to their original manuscript and make appropriate amendments. Once amended the manuscript will have to be reloaded and the review process recommenced. It is well worth the author’s time to fully review at this stage as it prevents having to amend after publication, which never gives a good impression to readers.
PDF proof copy: Either in addition or as an option, the author may download a PDF copy of the manuscript. This again provides an excellent image of how the print edition will look.
In both instances a page count will be provided which the author requires in order to select the correct cover template: see under ‘Cover’ above.
Distribute
Channels: These are where the book will be made available for purchase.
Normal: The system will automatically select: Amazon.com; Amazon Europe and CreateSpace eStore. The author is able to deselect these but it would be pointless to do so.
Extended: The author is offered the option to add ‘Extended’ channels. Why would these be useful? Explanations are provided against each but in principle they additionally make the book available: across multiple on-line retailers; to libraries; for independent book shops and book resellers. Apparently adding extended channels may sometimes, but not always, impact upon a book’s final purchase price. The writer has never experienced this but has read a few comments to this effect.
Pricing: A list of geographical areas is presented with the minimal pricing an author may charge shown: CreateSpace and Amazon need to recover the cost of printing, binding etc. Initially the price shown for each region is based upon conversion from one, usually the USA dollar. The author has the option to choose their own price for each territory provided it is not below the minimum stated. It is sometimes worth doing this to make the price more attractive in certain territories.
Royalties: Understandably most authors will opt for a 75% royalty payment. However, due to varying localised or national regulations, some territories only allow for a 35% royalty payment. The royalty payable for each outlet and territory is shown in the right hand column. Note: VAT (Valued added tax) will be deducted prior to the payment of a royalty.
Cover finish: This should already be pre-filled from the information entered earlier. The author now has the opportunity to change their mind if, after reflection, they consider it appropriate to do so.
Description: This has several elements to it:
Description: This is where the synopsis or blurb will be entered. It is best if this has already been prepared. It would then simply be a matter of copy/paste.
BISAC (Book Industry Standards and Communications) Category: This helps: retailers identify where the book belongs within their systems; readers to find books within the genre they like; make the book available in all territories (some territories will not permit a book to be put on sell without this information).
Author Biography: This is where the author may give as much or as little information about themselves as they wish. They should try not to make it too lengthy; readers just want some insight into who the author is. A more comprehensive biography should form part of the author’s website or blog.
Book Language: This should be prefilled from information entered earlier. If appropriate it may be changed here. A dropdown list is provided.
Country of publication: This is not necessarily where the author physically resides. The publication country is associated with the ISBN. Where a free CreateSpace ISBN has been utilized the country of publication is the United States of America (That is where the CreateSpace and Amazon businesses are located). Where the author uses an ISBN they purchased, the country of publication will be the same as that stated in the purchase process. The author must take great care to enter the correct country. A dropdown list is provided.
Search Keywords: Five are allowed. These are words/short phrases the author thinks readers may enter when searching for a book. They should think hard before entering as these could have quite an impact upon a book’s discoverability.
Adult content: Thankfully publishers take this aspect seriously both for the protection of children and for those who prefer not to read such material. It will reflect poorly upon an author if a book contains adult material and they do not tick this panel.
Large Print: Self-explanatory. Authors should be aware a large print edition may attract a higher price; CreateSpace has to cover the inevitably increased cost.
Publish on Kindle: This is a useful option that enables a Kindle edition to closely resemble the print edition. Beware: The manuscript uploaded for the print edition will not be entirely suitable for Kindle e.g. there is no interactive content list or links to the author’s on-line website, blog, social media accounts etc. The manuscript will require some adjustments to make it suitable for Kindle. This will be discussed in a subsequent post ‘Publishing with Kindle’. However, if an author knows beforehand they are going to opt for utilizing this CreateSpace service they should have the adjusted version of the manuscript ready.
Sales & Marketing: This is where CreateSpace will show an author available services to help with the marketing of a book. Note: These can be a little pricy for authors who have little in the way of resources.
Roundup
The above is only intended to be an overview to assist new and inexperienced authors to get going with the publication of their physical books. Within the CreateSpace system there are many helpful guides and notes authors may avail themselves of. There is also an active community within which questions may be raised and answers, to question already asked, found. Provided the author does not try to rush matters the process is reasonably straight forward and within the grasp of most.
A couple of matters not mentioned above:
Amazon account: The author will need one. The process is straight forward but will be discussed in a subsequent post ‘Publishing with Kindle’.
Tax: No matter where an author is based or a book sold, tax is always payable. The author will have to complete a tax form. Further information and guidance regarding tax and tax forms may be found at here.
January 27, 2017
French Illusions by Linda Kovic-Skow
[image error]The author’s attempt to gain employment in a specific field is hampered by not having another language at her command. She therefore decides to resolve the issue by applying to become an au pair in France. Her story commences with a deception that could have led to the whole adventure backfiring from the start. No doubt in many cases it would have but a need of the moment prevented it doing so.
Becoming an au pair in a foreign land without the ready support of family and friends can be a risky prospect, especially as the au pair is usually quite young. No doubt some readers will have heard tales of how some of these young people are taken advantage of. Naturally, the employer’s character plays a large part in how matters work out. This is definitely the case in this memoir.
Though the author shares some of her enthusiasm for the regions she travelled through and lived in, this is primarily a memoir depicting a clash of personalities and inappropriate expectations. It provides an insight into the varying attitudes that may encompass different strata of society and the consequent behaviours. The reader will instinctively find themselves supporting the author as she finds her feet and resists injustices.
It would spoil it for potential readers to say more.
This is not a particularly dramatic or unusual story, nevertheless it will interest those who like to read about other people’s lives. In this account the reader is shown how the protagonist:
Manoeuvres the hurdles thrown in her way.
Overcomes awkward, sometimes unfair, circumstances.
Deals with the prospect of love.
Copes with a very different culture.
Assimilates some local traditions e.g. culinary expertise.
This memoir makes an interesting read but cannot be said to be exceptional. Three stars (3*). This website’s policy with regard to ratings may be understood here.
The book is available paperback, e-book and audio formats.
Note: The author continues her story in a second memoir ‘From Tours to Paris’. Consequently, the book reviewed above is now referred to as ‘French Illusions Book 1’.
