Writing a story is one thing; putting together a book and marketing it effectively is another entirely.
“Create dangerously, for people who read dangerously. … [Write] knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them.” — Edwidge Danticat
You wrote your story, endured the headache that is the editing process, and now you’re ready to publish. First of all, congrats! A lot of writers don’t get to this point, so this is an accomplishment in and of itself; take a sec just to bask in the fact that you’re one step closer to joining the ranks of published authors.
Secondly, and not to burst your bubble, but the work is so far from over. Whether you have an agent pitching your work on your behalf or you decide to go the hybrid or self-publishing route, you still have a lot of to-do items in your future. Two big components to keep in mind are production and the marketing of the finished product. After all, publishing a book is great, but it doesn’t count for much if nobody reads the damn thing. Just like with any quality product out there—shampoo, vacuum cleaners, weighted blankets, whatever—presentation and reputation mean the difference between sales and a flop. Think of how often consumers opt to try something new simply because it has a cool label or it came highly recommended by a source they trust. I know a few picky people who won’t try a new restaurant if there’s more than one disgruntled Yelp review attached to it or if the building’s facade is humbler than they expected it to be.
After serving as the production coordinator for an indie trade publisher, the content manager for academic journals, and a return judge for Writer’s Digest awards (just to name a few resume items), I’ve seen a lot in terms of good practices as well as mismanagement of every stage of putting a book together and sharing it with the world. These in no way cover everything you’ll wish you knew when you find yourself in the weeds, but these dos and don’ts will certainly make the process easier to swallow if you take them with a grain of salt—and some ibuprofen.
DO invest in a quality typesetter.
A common misconception about typesetters is that they only handle formatting for print book production. But in addition to helping you navigate the myriad of options available for fonts and creative accents, not to mention the technical stuff like pagination, margins that account for bleed, optimal line spacing, etc., they’re the ones who make sure the e-book version(s) of your book are, well, readable. Most publishers will have their own, whether they’re a larger house or a smaller operation, so you should make this part of your research when you’re choosing who to pitch your manuscript to. Take the time to check out a few books they’ve already published in your genre and really look at the layouts of both print and digital titles. If you see tons of weird style choices or consistent errors, save yourself the trouble (and the money) and move on to the next candidate on your list.
DON’T ignore the advise of a seasoned cover designer.
“Don’t judge a book by its cover” is a thing for a reason. A book’s cover is, first and foremost, its best marketing tool. It’s true that hybrid publishing and self-publishing models give authors a lot more freedom and say-so when it comes to cover design, but you also have to know when to defer to the experts. They can help you avoid rookie mistakes, like pointedly explaining what genre your book belongs in right there on the cover; if the description on the back and the design itself are doing their jobs, there’s really no need for that kind of hand-holding, which can turn potential readers off before they even crack the book open. Of course, a cover designer will try to work with you and your creative vision, but at the end of the day, they have the experience to know not only what works aesthetically, but also what’s going to cause problems from a technical standpoint. In other words, don’t be a doormat, but also decide from the get-go which hills you’re willing to die on.
DO request reader reviews.
I’m not saying you need to beg or anything, but including a humble request for reviews in your book’s interior back matter is a simple way to encourage readers to express their opinions on the book and maybe entice others to check it out, too. They’ve just finished it, it’s all still fresh in their minds, and if they do provide feedback on Goodreads, Amazon, social media platforms, their websites, you name it, then you get some honest feedback that you can use in your marketing or apply to improving your next book (more on the latter in a bit). Keeping your eye out for reviews and connecting with your more engaged readers is a marketing strategy on its own, and sometimes it starts with a gentle reminder to avid readers that this is a platform that is available to them, that you welcome their input and want to get to know your audience better. Bonus points if you can find ways to open up the conversation to other important topics as well.
DON’T ignore the data.
You should be able to trust your publisher to cover the bases and do the market research, but who says an author can’t be in the know, too? In fact, considering most of us writers are control freaks at our core, it always surprises me when authors’ eyes glaze over when discussing things like optimal release dates, trending topics, and developing strategies. No, it isn’t necessarily the sexiest conversation, but this is a huge investment and if you want to see it do well, you can’t be hands-off regarding what goes on in the background. Take an active role in your book’s success by doing your research, asking questions, and actually listening to responses that the experts on your publishing and promotional teams give.
DO include disclaimers for potentially triggering material.
It doesn’t have to be a flashing neon sign, but a simple, understated warning that your narrative contains material that could be specifically triggering can go a long way. Yes, it may make someone put your book down, but in the long run, that’s better than them reading it and blasting you online for not giving adequate warning for content that can be psychologically harmful to some. That’s a great way to alienate other readers who might not even be triggered by your book, but who are socially conscious enough to want to discourage that lack of foresight. Think of it this way; if horror movies mess with your head so much that you lose sleep for several nights after viewing, you’d rather someone warn you before you agree to watch Taking Back Gumdrop Forest, only to discover the hard way that both the title and the promotional art were meant to be ironic.
DON’T sweat reviews; use them.
Your book likely won’t be everyone’s cup of tea, and an honest book reviewer will tell you why. The key is to take the criticisms as suggestions for improvement; try to remember that it’s not as personal as it feels, no matter how emotionally invested you are in your published work. In any case, all feedback should be welcome, especially if it appears online. This means that there’s greater potential for other readers to stumble upon your book and, if they’re confident in their own taste in literature, make the choice for themselves whether or not they’d like to give your book a chance regardless of what one or two unimpressed bibliophiles have to say. Responding with aggressive or snarky commentary does nobody—least of all you or your book—any favors. Thank readers for their reviews, answer questions, and above all, keep a cool head by remembering that everyone is entitled to their opinion.
DO work with an editor; DON’T check out of or rage against the editing process.
Even the best writer makes the occasional typo, and there’s nothing more frustrating and embarrassing for a wordsmith than discovering the mistake after their work has been disseminated to the masses. Don’t assume you’re above an editor’s advice simply because you’re a talented writer, and when you do get that guidance, it’s never a good look to argue for the sake of arguing. If your editor is indeed good at what they do, then they’ll have no problem explaining their changes if you ask them to in a calm, professional way. On the flip side, just because an editor makes a style change doesn’t mean you have to go along with it. Correcting a mistake or offering a suggestion to improve narrative flow is normal; completely altering entire chapters and invariably derailing your writing style and voice is not.
Publishing a book is never easy; there are a hundred little steps, and a million opportunities for shit to hit the fan. But, it doesn’t have to feel like literally charging into battle; surround yourself with bosses who know their stuff and dive in with your eyes as wide open as possible, and you’ll be on your way to a memorable (in a good way, not the kind that leaves permanent scars) experience.
K. Watkins 