Pre-Publication

• 

  Art - Marketing - Pre-Publication - Publishing

  Make It Pretty: Commissioning Artists for Your Book’s Cover and Interior Art

  November 26, 2025 - By Heather Ashle

  

  We all need some kind of imagery for our books, whether on the covers or inside the pages, as well. But in a world burgeoning with AI-generated art, it’s more important than ever to not only support human artists but also to vet them for your own safety.

  Heed Your Publishing Requirements

  AI-generated content, including art, must be declared when you go to print, and you can get into serious trouble if you’re not transparent. Ignorance is no excuse. You don’t want to find yourself eternally banned from a printing or distribution platform because you made a mistake.

  But the upside of this pressure is: if you do your homework, you can support a real artist.

  I’m an art fair enthusiast. I love championing artists and sharing their beautiful wares. Cover art, truly, is no different. It represents your work, instantly bringing it to life for readers in a way that your words can’t quite do. Finding the artist who can create the perfect art for your covers, chapter head images, logos, or merchandise is important for your brand.

  Yet, much like the rest of the publishing process, it involves a lot more behind-the-scenes grit than simply drawing up a dragon or writing an epic battle.

  Timing with Publication

  The first thing to consider is when you want your art to be completed, even if you haven’t found your ideal artist yet.

  If I remember correctly, I began looking while Heir was with my beta readers. I’m no artist, but from what little dabbling I’ve done, I know art takes time to create. And good art takes even longer.

  What I do remember is what group work was like in high school. The moment you involve more people in your project—especially when it comes to creative additions because inspiration and revisions take time—the longer your timeline will stretch.

  It’s not a fault; it’s just the truth. Life gets in the way sometimes. But if you know that, you can plan for it. If you can pad out your timeline a bit—for all involved—you can avoid slowing down publication or unnecessarily rushing the creation of important components. (You may not like the final product if you hurry.)

  I contacted countless artists I admired when I began my search. Thankfully, most were too busy to take the time to create something specific for me, and my search drew on. Yes, I said “thankfully.” Because the artist I really needed (but hadn’t met along my art fair wanderings) was the incomparable Rob Carlos. When he—a dragon artist!—agreed to do my cover art, I was over the moon!

  But there was so much more to do before he could even put pencil to paper.

  Vetting Your Artist

  If you’re trying to avoid AI art, it’s important to know (a.k.a. prove) that your artist creates original artwork. If they have a website or are featured anywhere, you might be able to tell from their portfolio how their work was created. Still, it doesn’t hurt to verify (perhaps verbally or in writing) that their work is entirely original to their hand.

  Another red flag can show itself in the project’s promised timeline. If an artist needs ample time to turn around a product, that could signal that they’re swamped or poor time managers… OR it could indicate that their art is real because it takes time to create! For example, if the projected turnaround time on full cover art is one day, all kinds of warning bells go off in my head because that timeline sounds suspicious. Maybe AI can create your cover in an hour, and they’ll spend two more tweaking it before it comes back to you, but most artists need a bit more lead time to create a genuine piece for you.

  It’s also important to verify their trustworthiness and professionalism. You don’t want to hire someone you think is an “artist,” only to have them take your money and run or take forever to return a project. Check out independent reviews, ask for references, get referrals from other authors or professionals—generally, just do your research. It’s like any other purchase—verify the quality before you buy.

  Sometimes, if you’re “courting” an artist, you can even have them do a sketch for you while you work out the preliminary details. This not only helps you both understand your vision for the piece but also proves that their art is genuine (because they’re creating some of it in front of you). You can even do this over a web conference if your artist isn’t local.

  Bottom-Line Considerations

  Price will obviously play a role in your decision, too. Think about what you’re asking for—a full cover, chapter heading art, a logo, whatever. How much would you reasonably expect that to cost (you can do some research here to adjust your expectations), and how much are you willing to pay for it? Is the artist being reasonable with pricing? Or are they simply outside your budget?

  Don’t forget flexibility. You obviously don’t want to stomp on an artist’s creative freedom with countless demands, but are they willing to include your input, or are they demanding free rein? What do you want from the finished product? Do you realistically think you can work well with this person?

  You also want an artist who accepts that revisions might be necessary for you both to arrive at the ideal finished product. Ensure that you understand their process for creation and revision so you’re not left paying for revisions or a cover you don’t love, can’t change, or can’t even use.

  Bottom line in all this? Trust your gut.

  Much of this can be sorted out in a call or email chain in advance of agreeing to work together, and all of this is important to discuss. But even if you think you’ve found your dream artist, before you proceed with the project, I recommend cobbling together a contract.

  The Contract

  Look, contracts, as a concept, make my skin crawl. I find legal stuff uncomfortable because I just want everyone to treat everyone else fairly without a signed piece of paper binding them to good behavior. But, alas, even mistaken slights can occur, and everyone deserves protection as much as good treatment and good intention.

  Perhaps, if your artist is a friend, you’ll feel comfortable operating without a contract, but I still don’t recommend it. Everyone can receive piece of mind from being on the same page, and if a friendship dissolves or changes its terms, it might be helpful later to have some guidelines in place.

  Now, creating a contract doesn’t necessarily mean becoming covetous or adversarial or even involving a lawyer if you can’t afford one (and I most certainly am not one). If you and your artist can come to amenable terms and get them in writing, especially with use of a standard contract as a template, you might be okay. Only you can decide what you feel comfortable with.

  But let me say this: if building your contract together is more discussion than battle, you’ll probably both end up happier with the results.

  Rob already possessed a contract he used in art commissions. This instilled confidence in me because he exuded both professionalism and kindness as we worked together to flesh it out and adjust it for our mutual benefit and protection. In the end, although we both possessed every intention of treating each other well, I believe we both felt more comfortable with its contents and how we would behave toward each other going forward to honor our respective art. (A contract also provides a nice reference later if either party has a question about your agreement.)

  All I can tell you is my experience (again, not offering legal advice here), but here are some things you might want to consider when putting together a contract with your artist.

  • What art is included?
    • Full cover – front, back, and spine
    • Chapter image(s)
    • Logo, etc.
  • Delivery Format
    • What format will this art be delivered in?
    • Will the artist help if you need another format later?
  • Revision Process
    • How will revisions be conducted?
    • How many rounds of revisions are included?
    • At what point must you start paying for revisions?
  • Due Date
    • What is the schedule for the various stages of delivery during revisions, etc.?
    • When must the final art be completed and the finished product delivered?
    • What are the ramifications if these timelines aren’t met (be reasonable)?
  • Terms of Payment
    • What will the art cost?
      • Get this itemized if multiple pieces are being delivered.
    • How will this amount be paid and by what due date?
      • Installments
      • Digital payment
      • Invoicing, etc.
    • Grant of Ownership
      • The author will likely want first reproduction and marketing rights without time limit.
      • The artist will likely want to keep the copyright, trademarks, and IP rights and may want the right to reproduce the art for marking and print sales of their own.
      • Does the artist receive royalties on or samples of merchandise, etc.?
    • Editorial Privilege
      • Can you make changes to the art, if necessary, to suit your publishing needs?
      • Will the artist want to provide permission for edits (or remove their credit if edits are unsatisfactory)?
    • Confidentiality
      • Should your association remain private?
      • Are other non-related associations protected from disclosure?
    • Credit
      • What kind of credit must you give each other when using the product?

  You may want or need other elements in your contract, but this should, at least, get you started.

  Enjoy the Process

  One more reminder: this should be fun.

  I’m a control freak, and I still love this part of preparing for publication. An artist is bringing some element of my imagined world to life for people to see, not just read and imagine. I got lucky—Rob really understands my vision, and I thrill whenever he sends me a mockup because he captures my imagination on the page. It doesn’t mean we get it right the first time, but when we finally do, it’s truly magical.

  So, build in some extra time—don’t rush it.

  Consider the art slowly and carefully—don’t agonize over it.

  Give you and your artist some grace—don’t jump to frustration.

  You’re an author; use your words. You are capable of conveying what you want, and if you found the right artist, they’re capable of delivering it, so just trust the process a little, eh?

  Good luck with your search and happy art-ing!

  -HA

  Have an artist you love? Give us a name and a description of their style, medium, or preferred subject matter. Let’s promote each other’s incredible talents!

  
• 

  Drafting - Editing - Pre-Publication - Publishing - Writing

  Editing Before Your Editor Edits Your Edits

  June 6, 2025 - By Heather Ashle

  

  I’ve said this before: as a writer and an editor, it takes a massive amount of self-control to prevent myself from editing my work as I write it, even if I know it sucks as it drains from my fingertips into the keyboard. Drafts are supposed to suck; their function is to get the raw materials out of your head so you can mold them on the paper or screen before you. 

  And, oh, my raw materials can be rather pathetic at the start. Epically pathetic, one might say, given my genre of choice.

  But what my editing chops provide me is the ability to clean up my work (to a point) before I hand it off to an objective set of eyes that hasn’t been staring at my words for months on end.

  While HB Ink, LLC’s process encompasses a standard two rounds of editing before formatting for print, sometimes pieces benefit from an extra full or partial edit prior to making the manuscript look pretty on the page.

  This is not a fault or a negative.

  It’s another step toward the realization of the author’s vision. Authors hire editors to make their stories gleam. I would rather have an editor tell me it needs more work before I go to print than publish an unpolished piece that needs revamping in a later edition.

  My Books Suck.

  At least at the beginning.

  I edit the realm out of my books before I hand them off to my editor, and while it makes her life easier, it also eases mine. By the time she gets them, my works are less prone to needing extra edits (though not impervious) because I analyze every word several times over before it leaves my hands for an objective scan.

  I can hear some of you asking why I bother. “You’re paying the editor. Let her do the dirty work. It’s her job. Use that time, instead, to write the next book.”

  Hmmm, a compelling counterpoint.

  No.

  Here’s why.

  Certainly, the Virgo perfectionist in me instantly responds to that suggestion with dry heaves, but while she breathes into a paper bag on the couch, let me give more rational reasons for my choice to edit ad nauseum (see what I did there?).

  Besides assuring continuity and adherence to future plotlines, the rest goes back to vision. I have a certain vision for my tale that no one else can have because they’re not in my brain (and for escaping that fate: you’re welcome). 

  I want my book to read a certain way. 

  I want a specific cadence. 

  I select words with pedantic discernment that, in my case, stems from hours and hours of Masters-level literary analysis. (Sometimes I want that subtle dual-meaning to stroke your subconscious along the way, even if you don’t realize it on the first read, okay? It makes me happy to know it’s there for you to find… even if you don’t.)

  Secondarily, polishing is part of my process. Choosing the words that fit my vision sometimes reveals tiny finesses within the tale that I didn’t realize were important. I have seen the alteration of one word redefine an entire scene within my story (which, yes, required a complete rewriting overhaul, but I was in the editing phase at that point, so it was a legitimate action).

  Words are extraordinarily powerful and possess lives of their own. We are privileged to use them, and we must wield their power with meticulous care.

  But we don’t need years of collegiate study to do so (I just happen to have that in my arsenal). So, let me tell you what I do (and you can, too) to help my words do what I want them to. Even if you’re not as picky as I am (and few are!), this might spare you an additional round of editing.

  The Pre-Editor Editing Process

  The basics are requisite to storytelling:

  1. Allow yourself to write a terrible draft. You WILL fix it later. You promise.

  2. Edit the draft. See? You didn’t even have to wait that long.

  3. Edit it again, really, as many times as you want. When this process starts to feel smooth, you can move on to step four.

  The finesses are requisite to better storytelling:

  4. Perform a ReadAloud Edit. Word has a function called ReadAloud that uses an AI voice to read your work to you (other similar programs exist). I like to do this with a grammar bot running to kill two Narxon with one jet of dragon fire, but you can split the two into separate steps if the pair is overwhelming in tandem. (I use the ProWritingAid grammar bot add-in for Word. Some choose Grammarly. You do you.)

  • Let the computer read your work to you while your eyes read along. You will hear the obvious mistakes and see the less-obvious ones.
  • Fix the things the grammar bot tells you to fix (unless the bot is wrong or your stylistic choices require some grammatic fudgery).
  • ReadAloud your corrections, whether you chose to make them or the bot suggested them. They may need further adjusting.
  • Let the computer read your work to you until everything sounds right. Obviously, the bot’s inflection (and sometimes pronunciation) may not be perfect, but if you’re reading along with your eyes, you’ll know if you nailed it, even when the computer reader is a bit glitchy. (The newer voices have come a long way, thankfully.)

  5. Perform a Reading Edit. Now you become the reader bot. Read your story aloud to yourself (or to a friend, spouse, or pet, if desired).

  • Barring any unforeseen emergencies or pee breaks, read each chapter from start to finish without walking away in the middle. This uninterrupted read provides the added benefit of checking for continuity and unintentional repetition within the chapter.
  • This is also helpful if you plan to do an audiobook version (especially if you plan to read it yourself) because you can catch any weirdness or spots that may be tricky to say before you record.

  6. Perform a Paper Edit. (Note: If you’re not a computer person, you may have already completed this step.) Oh, yeah. Old school. Why bother? Seeing your story in a different medium (on paper vs. screen) changes your impression of it; it’s like starting from a clean(er) slate.

  • If you’ve written the entire thing on a computer, burn through a ream of paper and print the whole thing. Then sit with your favorite pen (I use purple ink) and mark it up. (I’m aware of the ecological consequences here; if you wait to do this step closer to the end, you won’t have to do it twice, and printing double-sided or using recycled paper helps reduce waste, too. Please remember to recycle your marked-up manuscript when finished.)
  • You can read it out loud a second time (if desired) or combine this step with your Reading Edit from step five.
  • Transfer your edits to the manuscript, check with that grammar bot again, ReadAloud/read out loud anything that needed serious overhauling, and voila. You’ve edited your book at least half a dozen times.

  The Final Step

  I would posit that an author doesn’t need to be a professional editor (nor spend an inordinate amount of money) to perform these edits. But there’s a caveat.

  When you’re done, hire an editor.

  I’m not saying this because I’m an editor-for-hire.

  I used an editor before I became one professionally and will continue to do so as long as I publish novels.

  But hear me out: after you’ve edited your work six or more times, your eyes cross, you dream in chapters, and you confer with your characters while making dinner or plucking your eyebrows. It’s a bit… [insert eye twitch here] enthralling.

  And you can’t be objective when you’re held in your story’s thrall.

  That’s when you need someone whose soul is not tangled in the tale to find its foibles.

  Even after all these editing steps, you. will. miss. things.

  Guaranteed.

  But if you put in all that effort to get your story as close to your version of perfect as you can, why in the realm would you stop short and let those hairy little typos and oopsies taint your immortalized hard work?

  Because Editors = Cost

  I get it.

  But let me posit this: you will never make up the cost of an editor if your book is frustrating, error-riddled, or unreadable. Because it won’t sell.

  You’ve invested the time. The energy. The love. 

  If you won’t invest the money in your soul’s story—in yourself—what will you invest in?

  Unless you’re publishing not with the intent to share but only so you can hold your book in your hand and say you’ve done it, please…

  edit the realm out of it and then hire an editor.

  -HA

  If I can be of service, check out HB Ink, LLC’s professional editing process at www.hbinkllc.com. 

  
• 

  Book Launch - Marketing - Pre-Publication - Publishing

  The Book Launch Experience (a.k.a. My Second White Hair)

  September 8, 2022 - By Heather Ashle

  

  I grew my second white hair (that I know of) in the run-up to launch day for the first book in the Realm Riders Series. By the time it was of length to notice, it stuck straight out from my head, in the unruly way that coarse hair does, to glow in the light of a restroom sconce while at a dinner with two other couples. Naturally. And while the first one had come around my 30th birthday (an unexpected gift that I promptly plucked), I left this one, like a badge of honor, allowing it to fall out on its own, with countless others, sometime around launch.

  Now, this graying and hair loss was by no means a result of the actual launch day. The day my book officially dropped was perhaps one of the headiest of my 35 years. The outpouring of love and support caught me genuinely off-guard—not because I think the people in my life are anything shy of wonderful, generous human beings, but because I simply didn’t expect such an astonishing deluge to be directed at little ol’ me. I must say, I was quite indescribably awed and humbled. (And thank you again—you know who you are.)

  No, I attribute the white hair to the learning curve that immediately preceded launch day. And unless you texted me in those days prior, you probably don’t know how much trouble I experienced. Despite my publishing adviser’s herculean efforts to help me prepare, there are some things you must simply stumble over yourself. Still, my hope here is that I can further mitigate some of those tripping hazards for anyone planning a launch (or simply enlighten anyone with interest).

  And so, I pick up from my last blog, the Book Launch and Marketing Checklist. It has some great planning tips that I amassed from various sources (and my own trial and error), and I add to the list of how-tos (and how-not-tos) here to better prepare for next time.

  First, the Recap

  I chose to publish independently for several reasons: better royalties, more creative freedom, and complete control over this and any resulting projects. You’ve heard or read me describe myself before: I’m a Virgo and a control-freak. And this was my 10-year-old baby. No way in any realm was I going to hand it over to someone else to rear.

  I published directly through Amazon and Barnes & Noble. I had hoped to go wide by adding D2D Print to my repertoire, but they, like every other wholesaler I’ve researched, are an all-or-nothing platform, and I couldn’t have avoided duplicate listings with Amazon and B&N if I’d published with them, as well. I had no interest in violating the platform rules of the “big two” and risk all listings of my book being taken down. So, I decided to sell additional copies through my website instead, using a PayPal widget. (I’m not endorsing PayPal per se, but they have been easy to work with so far, and I have heard many vendors at art fairs say they’re moving away from Square, mostly for customer service-related reasons. So, something to consider if you’re shopping for such a service yourself.) I may not have the reach through my site that I’d get with a wholesaler, but for the launch, when I needed my Amazon stats to drive up the visibility of my book, it worked out just fine.

  Except when it didn’t.

  Categorically Realmed

  If you’re not aware of how Amazon—or Kindle Direct Publishing (KDP)—works when it comes to book stats, your education must start there, for it informs some of my thought processes. Perhaps you’ll remember my mention of keywords and categories in the pre-pub checklist. Keywords are search terms that direct buyers to your books, and categories are like the shelves of a bookstore or library—they provide a sort of shorthand for the book’s more specific genre characteristics. But that’s not all they do.

  Categories also figure into how a book ranks (in sales), compared to other books in the same category. And there’s a program out there by Dave Chesson called Publisher Rocket (which I don’t get paid to endorse but highly recommend all the same) that helps authors find categories in which to position their books. And I say “position” because it’s all a numbers game. Publisher Rocket gives authors an idea of how many books must be sold to reach the top 10 bestseller rank and the number 1 bestseller rank at Amazon. This means, if you can sell enough books in a single day in a listed category, your title will feature among the top 10 bestselling books in that category. And you want this because the chances of a potential buyer scrolling below the top 10 decreases exponentially with each roll of the mouse wheel or swipe of the thumb. Plus, you get that “bestseller” sticker over the image of your cover—and realm knows, you want that.

  But there’s a process to all this. When a book is published through KDP, the author must assign two primary categories to start. These are rather less specific than those one might research with Publisher Rocket, and the broadness of these first two only widens the competitive pool. So, before you publish, you can spend some time researching the categories you want your book to feature in—preferably with as low a sales number as you can find to get you in that number-one spot. And this must be done for every version of the book you release—eBook, paperback, hardcover, and audiobook—because the stats and categories are different for each. (Not to mention, they’re different in each country, too.)

  I’d researched my keywords and categories so far in advance that they required updating right before launch. It wasn’t much extra work, and I do recommend doing the bulk of your research and selection in advance so that you need only double-check your choices at the last minute to see if anything needs altering. When I originally performed my research, my #1 bestseller rank number for single-day sales for the paperback was 14. When I was finally ready to publish, it had jumped to 22.

  I knew the limits of my reach. I’d been advertising for a while, but it was my generous family-and-friend base that was going to buy the first copies (I was not making assumptions here—they all told me so). So, I knew day one of the launch—August 16—was going to be the most important.

  And to readily facilitate sales, I had to have accurate links for my newsletter, ads, the Buy Now page of my website, and my social media accounts, or I wouldn’t be able to direct people to the places the book was available.

  So, with these two thoughts in mind, I decided to launch in advance of August 16. I attempted to publish my book to Amazon and B&N on the 13th so I could get my buying links and categories updated in advance. After Amazon processes a category request (which lately has been within 24 hours), it can take up to 72 hours for them to display, and I wanted to make sure I had the time for them to hit before the majority of my book sales might take place.

  Of course, what I didn’t realize is that it can take up to 72 hours for Amazon to approve and release the book after you hit “publish.”

  The—thankfully mere—24 hours it took Amazon to release both versions of my book were admittedly somewhat tense. The 13thwas a Saturday, and I had a long list of post-launch tasks planned that I could only tackle once the book was out (i.e. – setting up my Author Central and Goodreads pages, establishing affiliate accounts (I used Amazon Associates to start), updating my purchase links, etc.). Instead, I went to an art fair.

  After the book dropped on the 14th, I requested the update to my categories, and within 24 hours, I received confirmation from an Amazon representative that they had been added. Of course, they wouldn’t be visible for up to 72 hours, so I had no choice but to believe the representative who told me that it had been done.

  It hadn’t.

  My book is technically young-adult fantasy because it’s clean but its characters face adult situations that may be better understood at (a conservative?) 14 and up. I mention this because when I could finally verify that my categories had been added correctly (and check to see if I’d gotten my bestseller sticker), I discovered that only a small fraction of my categories had been added, none of which included that magically low 22 category. Let’s summarize this way: I didn’t get my sticker.

  It turns out, if your book is in the YA category, you must select at least one “juvenile” category among those two broad categories that you input at the time of publication. Of course, no one told me that when they said they’d added the categories, and I sadly never saw that disclaimer among the pages of category information in the KDP FAQ. Not until I inquired about why some categories were missing did an Amazon representative give me an education. I swapped out a juvenile equivalent of a primary category, resubmitted my request, and proceeded to have random, wrong categories added to my books over and over again, request after request. And although I followed their procedure for requesting updates to the letter, it has been a nightmare of endless ineptitude. As of today, when I post this, they’re finally up to date. Launch was over three weeks ago.

  Thankfully, I had no idea this was even an issue until after the launch frenzy had died down, but in the end, it didn’t really matter anyway. Sales are only counted when the book is shipped, which means regardless of when the purchase is submitted, sales stats are at the mercy of how quickly and uniformly Amazon fulfills the orders.

  To add to the inconclusive fun, I believe the number that counts toward the bestseller rank is the number of discrete orders, which is almost impossible to discern from the KDP dashboard because it only counts units sold. Therefore, it fails to distinguish multi-copy orders from single-copy orders, essentially rendering the bestseller sticker application nothing more predictable than a complete surprise for a small-time seller like me.

  But for once, my ignorance benefitted me. I am grateful to have spent launch day basking in the love and support of my family and friends—with only a modicum of anxiety over the Barnes & Noble $#!%-show splashed in for good measure.

  B&N: Better Late than Never

  Barnes & Noble doesn’t make it easy. The process of creating the book isn’t terribly different from Amazon, and having done Amazon first, I had a pretty good idea of what to expect from other platforms. Still, B&N has a few idiosyncrasies that I didn’t face with Amazon.

  Because of the bestseller game I was playing at Amazon, I decided against doing a pre-order with them. The theory here is based on your number of preexisting followers. Those that pre-order will have their books shipped to them by or on the day of release. Those that order on the day of launch will receive them a few days later. So, if you have a small number of potential buyers, and some pre-order while others buy on or after launch, their shipping times will be more varied. And since sales are predicated on shipment, the subsequent dilution of “sales” (read: shipments) in a single day would decrease your potential to snag that bestseller sticker.

  Since I had none of those concerns at B&N, I registered for presale with a release date of August 16 when I set up the book. Their system seems to force you to register for presale if you wish to set a future release date (rather than the day you’re setting up the book). But it allows you to release the book for presale at any point before that set release date. When I decided to release early (rather than releasing into presale mode), I was forced to take the book off presale to move up the release date. Registering for presale was not the mistake. Taking it off presale to release early was.

  B&N’s processing times are outrageous. Their customer support response time has consistently exceeded a week from submission, and their book approval for release took even longer. Had I left the realmed thing on presale and simply pre-released it on the 13th (which I had accidentally done once before but was struggling to do again when I wanted to), it might have released itself on the 16th, but it’s hard to know for sure. Instead, it sat in pending mode for over a week while B&N approved it. And when they finally published it, they failed to notify me. One day, I simply found its status had transitioned from “pending” to “published.”

  At least I could finally update the purchase link on my website.

  Because I wanted most of my sales to funnel through Amazon anyway, I wasn’t too broken up about B&N’s lag on the day of launch. I had worked hard to stack the categorical deck in my favor at Amazon, and the single lane of buying traffic had the potential to increase my chances at getting that bestseller sticker, right?

  Or not.

  But That’s Not All!

  These were not the only punctures in my launch parachute. On August 14, I ordered a bunch of author copies from Amazon to fulfill direct sales from my website and gift a few copies to family and libraries. (If you order copies from Amazon before you release, you can only order proofs, which come with a not-for-sale watermark on them. In other words, you can’t order saleable copies from Amazon prior to release. B&N had no watermark, so their proofs could technically be saleable if you put no stock in the idea that they could one day be valuable….)

  Author copies don’t contribute to the sales rank, but they are priced at wholesale rates, which is nice. Due to the paper shortage (Did you know there was one? Go talk to your local print shop; they’ll tell you all about it.), my author copies weren’t scheduled to arrive until the end of August. So, while my readers could order their copies through Amazon Prime and receive them in two days, I had multiple direct sales pending through my website on August 16 and no books to send to my customers. I, too, resorted to ordering full-priced copies to fulfill the orders and have since heard lead times on author copies are approaching one month. Thankfully, my—now second—set of books finally showed up on August 31st, as promised.

  Due to a mix of complications, like the late breakup with my wholesaler and some cover art issues resulting from non-standardized templates across multiple platforms, my printed advertising materials were still in the works and unavailable for pickup until the day of launch. Any plans I’d had to get printed ads out in advance entirely evaporated. I consoled myself with the idea that I couldn’t make sales if the books weren’t out, and if prospective buyers misplaced the postcard or bookmark prior to launch, they couldn’t be depended upon to buy a copy. Still, despite my efforts to begin that process months in advance of launch, it, too, became another last-minute task.

  I also had the hairbrained idea that I wanted to commission the E-Stamp from my book as an actual, working stamp that I could use during book signings. As I had orders for signed copies through my website, I really needed to have had that brainstorm a few days earlier than I did! Thankfully, the StampedWithLoveXOXO shop I used on Etsy moved extraordinarily fast, and I got the books out to my customers with only relatively short delay. (Those are the sweetest people on Etsy, by the way—I’m convinced of it.)

  I wasn’t entirely prepared when it came to packaging either, though. I not only needed to generate a packing slip and tracking spreadsheet and learn the postage ad-on for PayPal, but I also had to devise a protective (and stylish—come on) way of shipping the books to prevent damage. (If only Amazon had taken such care!) B&N had sent me an author proof in a cardboard mailer (as is their way—and they deserve credit for it), and I was able to use it as a sort of template for securely wrapping my books. But the plague of last-minute inspiration sparked all kinds of fun ideas about the stylish part of that packaging, and I was ill-prepared to implement them all. What resulted was lovely, indeed, but it could have been even better. It’s not a total loss: I’ll be ready for book two.

  I’ll Get It Next Time

  In the two weeks prior to the formal release, I was almost sitting on my hands. Sure, I was working with my printer, updating categories, tweaking my website, buying and assigning ISBNs, ironing things out with my wholesaler (or not), updating my LLC logo to get a bug on my back cover (rather than the spine), prewriting newsletters, setting up the store on my website and configuring PayPal, taking classes on Amazon Ads, connecting with my Launch Teams, generating book images for social media ads I was posting, and my crisscrossed to-do list doesn’t even chronicle what else I did on the fly.

  But my books—remember those?—were just sitting in their platforms, waiting for me to push the “publish” button. And I wish I had.

  The decision to buy ISBNs and publish under my LLC admittedly slowed some things down, and that’s entirely on me. And the print materials will be extraordinarily similar for book two, which will save a lot of time (and design cost). But those hitches won’t hinder book two’s launch because they’re already decided. So, when I do this next time, my timeline is going to look considerably different.

  My “secret” launch, as Dave Chesson calls it, is going to, at minimum, triple from his recommended length (and I’m sure it’s sacrilege to share such trade secrets, but I’m more inclined to help my indie author friends than worry about that realmed Amazon bestseller sticker).

  I will also order author copies the moment the book “secretly” releases. This may not get them to me in time to fulfill website orders, and I may very well have to order additional Prime copies again anyway, but at least I can try. I may also be able to get libraries advance copies, as they must be vetted (which can often take a month or so) before being shelved.

  And for my loyal ARC readers who refuse to post until their purchases have been verified (bless them), they’ll be given the opportunity to purchase copies and post reviews ahead of release.

  If I don’t go wide (a.k.a – use my wholesaler instead of publishing directly with specific platforms), I will figure out how to prerelease with B&N properly and do so at least two weeks before the launch day.

  And if I do decide to go wide… well… I’ll post an update about my third gray hair after book two’s launch.

  -HA

  Do you have any tips of the indie publishing trade? Please share here, and help your fellow authors avoid the pitfalls that you may have experienced. It’s only neighborly.

  
• 

  Book Launch - Marketing - Pre-Publication - Publishing

  Brace Yourself: Book Launch and Marketing Checklist

  August 9, 2022 - By Heather Ashle

  

  You’ve already read my blog on beta readers (or if you haven’t, why not?), so you have an idea of some of the less-publicized steps in the hyper-romanticized world of writing a book. But for independent authors (at least those who overlap with grasping perfectionists), the space between writing and publishing is akin to purgatory. From navigating the ins and outs of formatting idiosyncrasies to the creation and execution of your publication marketing plan, finding time to work on the sequel becomes rather tricky.

  In part, this is because many of the elements that require attention take time to complete, and you’ll do a lot of waiting around if you don’t tend to a few of them simultaneously. And you don’t want to realize you misjudged how long a process might take and find yourself scrambling at the last minute, unable to achieve those missing steps before the drop date. 

  For those of you who plan to embark on your first publication or those who periodically checked in to verify that I hadn’t wasted away under my laptop, I hope that this pseudo to-do list helps you understand some of the many things that require consideration in the run-up to publication… and why I got so quiet in the first quarter of the year.

  FORMATTING AND PUBLISHING PLATFORMS

  Step one: write the book. Turns out, this is the easy part.

  But don’t be like me and forget to write any key sections of your front and back matter. This could include acknowledgments, dedications, an about-the-author blurb, an author’s note, table of contents, and whatever else your book may need. (Realm forbid you had hoped to receive a forward or afterward from someone and forgot to chase them down—or even ask them—for it.) Once everything is truly, truly written and edited (you hired an editor, right?), you’ll need to format your manuscript for publication.

  This means you’ll need to determine in which formats you want to publish:

  • eBook
  • Paperback
  • Hardcover
  • Audiobook (and remember, this one has costs associated with it from talent to production and realm knows what else—this is still on my eventual horizon; I’ll update you when I know more)

  If you’re printing a physical copy, you’ll need to select your trim size (dimensions of the book), which will determine how you format it. The process is rather detailed but not super challenging, other than the occasional “oopsie.” It is also something you can hire out if you’re not comfortable with document manipulation. If you do it yourself, save new versions. Regularly. I mean, a lot. Just to be sure you can revert to an old version if needed.

  Knowing your formats might help you decide whether you wish to publish through a single publishing platform or “go wide,” as it’s known in the industry, which means distributing your book through multiple platforms. There are tons of options out there, but here are a few biggies I researched:

  • Amazon
  • Barnes & Noble
  • D2D Print*
  • Ingram Spark

  Unfortunately, wholesalers like Ingram Spark and D2D Print (who uses Ingram Spark as their distributor) currently prohibit authors from opting out of distribution through specific retailers on their list. This means going through them would prevent you from releasing directly with individual retailers like Amazon and B&N because it would create duplicate listings and could cause the de-listing of your book entirely. The issue: deselecting certain retailers would allow indie author to list with sites that pay out higher royalties for publishing directly through them. On the other hand, deselecting large avenues like Amazon and B&N could decrease the wholesaler’s reach and profit, which probably begets the prohibition. You see the conundrum. So, you can go wide and take the hit in royalties, or to get around this, you might consider selling directly from your book or author website (which I’ll detail a bit more below).

  (*But if I may gush momentarily about D2D Print’s incredible customer service…! If I eventually go wide with a wholesaler, they’re my likeliest choice.)

  A couple other considerations may affect which publishing platform(s) you use: whether to buy ISBNs (which I debate in my recently updated blog on ISBNs) and whether to file for copyright (and remember: it takes 1-3 months minimum to process, plus fees). Just don’t waste money on barcodes. Google a free barcode generator to use with your ISBNs if you need one—or use Dave at Kindlepreneur’s generator.)

  But these make up only the tip of the nitty-gritty iceberg. 

  KEYWORDS AND CATEGORIES

  If you’re self-publishing at Amazon, there are plenty of resources out there to help you figure out the process. This is where Dave Chesson’s Publisher Rocket program comes in handy (and, again, I make no money in saying so—I paid for the program out of pocket, too). Dave is an exceptional resource that you should tap as soon as you decide to publish your work. (Self Publishing with Dale is another great resource in the self-publishing biz, and I don’t get paid to say that either.) Dave also has a course on keywords and categories, which he’d bundled in with Publisher Rocket at the time I purchased it. Best thing I could have done. There are frequent sales on the software, so sign up for his awesome newsletters and seize your moment wisely.

  • 7 Keywords – You’ll input these when you upload your manuscript, so you’ll need to research them in advance. Expect to burn a couple afternoons on this… at least.
  • 10 Categories – You’ll sort these out and contact Amazon about associating them with your book on the day of launch. But to start, you’ll choose two of the broader categories at the time of manuscript upload. And you can assign different categories for different global regions, too, so there goes yet another afternoon or two if you care to bother.

  The eye-opening part about this (because this facet of B&N seems to go relatively undiscussed compared to Amazon) is that Barnes & Noble will ask for the same information. So, once you’ve done the work on Amazon, if you’re publishing directly with B&N, too, you can replicate all the work you did. I have no idea whether there is a system for keywords and categories at B&N that is less widely publicized, but if you did it one place, my hope is that copying will suffice.

  Note: Publishing directly with B&N, rather than letting a wholesaler provide them copies, increases your royalties but may hinder your ability to go wide for the reasons outlined in the wholesaler discussion above. B&N also requires a different cover size from Amazon for the wrap-around art, and it’s a huge inconvenience to ask your artist to make two versions, but you’ll thank your artist later when the royalties are (in some cases) double what they would have been from a wholesaler.

  UPLOADING YOUR FORMATTED MANUSCRIPT

  Try to decide whether you’re using free ISBNs or purchased ones before you begin, to avoid having to start again from scratch if you change your mind. Amazon will let you switch between the two in perpetuity until you hit publish, but B&N and other wholesalers who issue free ones likely don’t.

  If you’re printing a physical copy, like a paperback or hardcover, you’ll set that up first (before the eBook).

  1. Upload the “interior” – this is the formatted manuscript (with embedded fonts in a .pdf file) Note: Arial won’t embed, so consider using Calibri for all sans serif font applications (like headers).
  2. Upload the cover art
  3. Check for issues on the previewer
  4. Make changes if necessary and repeat until it’s right
  5. Don’t hit publish

  Begin your eBook instead.

  1. Upload the “interior” – this is the formatted manuscript (with embedded fonts in a .docx file) Note: Arial won’t embed, so consider using Calibri for all sans serif font applications (like headers).
  2. Upload the cover art
  3. Check for issues on the previewer. On Amazon, the eBook previewer also spellchecks for you. This handy tool may catch something that could have been missed by the editor or altered accidentally during formatting. If you find typos, now is the moment to reopen your final print-book interior file, find and fix them for both formats, and re-upload both interiors.
  4. Make changes if necessary and repeat until it’s right.
  5. Don’t hit publish.
  6. Order proof copy of the print version – you’ll probably order several. Mine are stacking up like library litter. But you’ll need to order at least one from each publishing platform to verify they’re going to print properly. Prices vary, especially with shipping rates included, but they can easily range from $10 to $30. Using the eBook typo trick before ordering your first copy may save you one proof purchase.

  PRE-PUBLICATION MARKETING PREPARATION

  I’m not a marketing exec, and I don’t pretend to be. I took an advertising class in college, so I know the occasional phrase, like point-of-purchase and brand positioning. (Yeah, I’m not dazzled by my academic memory either.) I abandoned the idea of taking up advertising as my minor for several reasons, but the one that matters is I don’t have the flare for it. And to complicate matters, I loathe self-promotion. It feels trite and ungenuine and… icky. Frankly, just thinking about it makes me queasy.

  Yet, the independent author has no choice but to self-promote. The devilishly necessary task is the cross I bear for wanting my fists clenched tightly around the reins of this project.

  What’s worse, the responsibility rests with me. If this doesn’t work, I have no one to blame but myself… which is why I hired a marketing company to help. Because I’d much prefer to share that blame? Yes. But also because I don’t know what I’m doing. Nor do I currently have the time to learn the ins and outs of Facebook and Instagram marketing, which I find cumbersome. But they’re still decent avenues to consider.

  Whether you set up Facebook, Instagram, Twitter, TikTok, or Amazon ads (or ads on any other platform), you’ll need images from your artist for them, so get your hands on whatever artwork you can.

  Note: You can get certified in Amazon Ads directly with Amazon, so you should be able to learn their process with relative ease and zero monetary expense. You can also take Dave Chesson’s free Amazon ads course. I took that and a free course from Amazon Ad School, which they promote a couple times a year, neither of which do I get paid to mention.

  It’s not all social media and Amazon Ads, though. If you have a decent and selfless support system of friends and family, they can assist you in your pre-publication marketing preparation. Before your book is released, start with those lovely people (and the rest of your email list—that I hope you’ve been generating) to recruit for hype teams that will help you sell your book around the day of launch.

  • Assemble an ARC (Advanced Review Copy) Team – these are the readers who will receive advanced copies of the book so they are ready to post reviews when it drops. (Make sure you consider the review policies of the site(s) on which you ask them to post reviews to avoid violating their terms and plan accordingly.)
  • Assemble Street Teams – these are the followers who help boost your launch date by posting about it on social media (Online Street Team) and getting out the word via the distribution of physical printed materials to whatever public places will allow it (Physical Street Team). Don’t forget to ask your libraries, as well as your coffee shops, retailers, and galleries, if you can leave materials in their establishments.

  You should also research any promotional programs, especially those tailored to new releases, as these may eventually become unavailable to you once your book has been around for a while. Amazon has a new promotional program (in beta at the time of this post) that looks pretty cool.

  And do a little research on pre-sale programs. Some of these may not behoove indie authors, so you’ll want to be selective. For those publishing through Amazon, who will rely on single-day sales to beat their “best seller” algorithm (this has to do with those pesky categories mentioned above), pre-sales may detract from your concentrated daily numbers. On the other hand, as you’re setting up your book at B&N, you seemingly have no choice but to opt for presale (to publish at a date later than the day you’re uploading your manuscript)—at least until you’re ready to publish, at which time that option can be toggled off, if desired. 

  Ah, and don’t forget live events. So many facets to this—all of which rely on timing. Here are a few you might consider.

  • Host a release/reading/signing party at a local place that is fitting for your subject matter (and hopefully affordable). Consider timing this with a gift-giving holiday, if possible.
  • Go to B&N or other local bookstores to research local author programs and see if you can get in for an author meet-and-greet.
  • Take a free copy(ies) to your local library. Ask if you can leave your printed marketing materials out somewhere and whether you can hold a debut gathering there, maybe to read a few chapters.

  And if you end up doing live events where your book can be sold, remember not everyone carries cash. You’ll need to establish yourself with a credit card POS system (like Square, Zettle, etc.—again, I’m not paid for listing these options and don’t recommend them one way or the other)

  • Some of these places even generate QR codes for you, which you can post on your sales table for touchless payment!
  • And get a state tax number for those states that impose sales tax on purchases!

  Did you also research the option of setting up a store on your website, so people who visit it can buy the book without being directed away from your site? (This is a great option if you want to go wide without sacrificing royalties from listing with an all-or-nothing wholesaler; just understand your reach may not be as good at the beginning.) Adding an ecommerce section to your website may be pricey, depending upon your website host, but they may have a free widget that links to your PayPal or other online payment account. It may not look as swanky as the full integration, but it’s a realm of a lot cheaper and a great way to get started.

  THE RELEASE WORK

  Once your book is released in all formats, you’ll need to set up your authorial pages (like Author Central on Amazon). You can start the process ahead of time, but the pages can’t be completed or go live until your book drops.

  And don’t forget to establish a GoodReads account, even if you don’t love the site (some do, some don’t). Lots of readers believe their reviews on GoodReads tie back to Amazon’s page for a book because review requests (like the review link that populates after you finish an eBook) automatically push readers to GoodReads. However, readers must go to Amazon directly to post their review on Amazon’s book page. Since lots of reviewers will unwittingly post only to GoodReads, you might as well have a presence established there… and at other review sites if you’re so inclined.

  BOOSTING SALES LATER

  And finally, you might consider setting up a Kickstarter as a way to reinvigorate your marketing after the initial rush passes. This might be for the sequel, an audiobook version, merchandise, etc. Whatever it’s for, the campaign will give you another avenue to approach readers who have a strong interest in furthering your work. Just remember to be smart about setting up your rewards so you don’t bankrupt yourself in item and shipping costs. And don’t forget to calculate the platform’s fees (and taxes) when you set up a goal, or you may make less than you’d expected. (I’m considering this avenue, too, and will blog again when I know more.)

  EXHAUSTED YET?

  See? I’ve been doing stuff! But think of how bored you’d have grown with me if I’d sent you a newsletter every time I crossed something off this unending list! And for those of you who know me personally (or know how long my books are) (or read this lengthy blog post), you’re aware that I can be a little verbose if I’m not careful.

  And I’m so rarely careful.

  DON’T BAIL!

  For those of you considering self-publishing, my hope is not to overwhelm you to the point of thinking that publication is beyond your reach (and you will probably have your moments, regardless). If you love your work, your passion will drive you through the rough bumps. Just remember that if you’re publishing independently, no company is doing all these things for you, and I wanted to make you aware of some things you’ll need to do for yourself. 

  The reality is there are even more nitty-gritty details that I neglected to mention here, as some of them may be more a result of preference than functional necessity. But if you have questions, heather@heatherashle.com is where you’ll find me.

  Sure, it can take months from when you type your last word in the manuscript to the time you see your book in print. But if you want a reputation as an author who puts out quality work, you’ll appreciate that time and use it wisely.

  Happy publishing, y’all. And happy reading.

  -HA

  What’d I miss? Let me know in the comments please!

  
• 

  Pre-Publication - Publishing

  For My Publishing Friends: The ISBN Conundrum

  May 30, 2022 - By Heather Ashle

  

  Please note: This blog has been edited as of July 2022 to reflect Ingram Spark’s publishing recommendations regarding ISBNs and alternatives to Ingram Spark. Changes are marked with the word EDIT.

  Independent authors (those who have not solicited and/or been picked up by an established publishing house) have far more to concern themselves with than mere deadlines and bylines. One of their many considerations in the run-up to publishing is whether to purchase an ISBN for their works. And in the US, it’s no small consideration.

  What’s an ISBN, you ask? It’s an International Standard Book Number. That 10- to 13-digit number on the back of your book, usually around the barcode, that acts like a social security number for a work. Each format in which a book is printed requires its own number to differentiate it from its like-titled brethren. So, for example, if you publish your book in hardcover, paperback, e-book, and audiobook format, each will need an ISBN of its very own.

  But wait, there’s more!

  • If you publish different sizes of a book (i.e.: 6” x 9” and 8” x 10”), each size needs its own ISBN.
  • If you publish with different spine types (i.e.: traditional glued spine, also called “perfect,” and spiral), each of those versions needs its own ISBN.
  • And e-books have added complications: because there are multiple digital file types for e-books (i.e.: epub, mobi, and pdf), some ISBN issuers would prefer each type to possess a unique number, while some publishing platforms won’t require an ISBN for an e-book at all.

  Depending on what you do, it has the potential to add up—and fast.

  Perhaps this wouldn’t be a wallet-wrenching concept in places like Canada, where standardized ISBNs are free to obtain. But in the US, a company called Bowker has a monopoly on the codes, and they recently upped their prices. At the time of this post, you could buy ten for $295, 100 for $575, and 1000 for $1500. Or you could buy a lone ISBN for $125 (that price, at least, has remained static for now), but this is perhaps the unlikeliest option for most authors, as many will desire at least one print and e-version for each title. And Bowker knows it.

  (A note for further consideration: Bowker also sells barcodes to go along with their ISBNs in bundled packages, but many platforms will provide you with a barcode (and some may not even want a pre-purchased one attached to your book). So, do a little research on the publishing platforms you intend to use before you buy. What’s more, you can generate free barcodes to go with your ISBNs (just google a barcode generator or use this one from Dave at Kindlepreneur), so you can avoid wasting your money.)

  It’s quite the racket. And not every independent author can shell out that kind of cash up front when they haven’t made any sales from their yet-unpublished books. Now, an indie author can wait to add a Bowker ISBN later, using a free one from their publishing platform (i.e.: Amazon, B&N, etc.) until they can afford a Bowker one, but changing that “serial number” could affect the stats that the author has built up in association with that original, proprietary ISBN. 

  Now, if your book takes off, you won’t much care because your title and author name will carry you, and things like best-selling book lists aren’t affected by a change in ISBN. But if you’re the average Joe making average sales, every little bit counts, and starting from scratch on sales rankings or reviews may be—vast understatement?—undesirable.

  So, this led me to do some research on ISBNs, from Dave at Kindlepreneur to Draft2Digital to Martin Publishing Services to the Bowker website itself. Bowker has even put together a little video to help authors understand the value of purchasing an ISBN… but their cartoon characters’ messaging flies in the face of independent publishing practices, and as I’m an indie author, that was the focus of my research.

  According to my sources, most indie publishing companies will give you their own free version of an ISBN to help them categorize their library of published works. Most will accept a Bowker ISBN, and some will issue one of their own in addition to a purchased code to maintain consistent tracking within their own catalog.

  But no indie publishing platform will adopt the proprietary ISBN-like code of another indie publishing platform (i.e.: Draft2Digital won’t use one of Amazon’s ASIN numbers). They’ll just issue you a new one of their own. In reality, you could have free, private ISBNs coming out of your ears. (Take that, Canada!) So, the question is: why pay Bowker a premium for the privilege?

  That query is exacerbated by the odd publishing platform’s policy not to include books with Bowker ISBNs in some of their distribution programs, which could make “going wide” (distributing your book through multiple platforms) a little trickier. Now, this is a rarity in most cases, but it did make me wonder what benefit a Bowker ISBN could provide. And this led me down the path of bookstores and libraries, both of which, Bowker asserts, require ISBNs and will be better able to find your work with their codes attached.

  Let’s start with bookstores. Barnes and Noble is one of the last big bookstore chains out there, and they have their own publishing and distribution sector, just like Amazon. If you scroll about halfway down their FAQ page on publishing, you’ll notice that B&N will happily provide you with a free ISBN at the time of publication if you do not provide one from Bowker. Although B&N appears to provide a Bowker-registered ISBN (rather than a proprietary one, like an ASIN), they disclaim that the free ISBN they offer can only be used with B&N, much like every other indie publishing platform out there. To be fair, B&N requires an ISBN to get on their shelves… but if you publish your indie novel through them and use one of their freely provided numbers, you’ll still get there.

  EDIT: Now, this doesn’t speak to the tracking practices of vendors and wholesalers, which are often the main channels through which bookstores and libraries get their books. One major wholesaler is Ingram Spark, and they apparently do not issue free ISBNs when you publish your printed copies through them, contrary to some of my sources, and recommend you buy a Bowker one for each medium you publish if you want your book in stores and libraries (rather than printing personal copies for yourself).

  And I want the ability to get into libraries (should they deem me worth shelving). My Realm Riders Series fantasy novels are squarely in the YA category (young adult reading), and it turns out libraries are a great place for young adults to access books. (Who knew?!) I needed to know whether libraries would accept independently published authors’ works if the writer didn’t shell out a small fortune to tattoo Bowker numbers on their backsides.

  So, I went to my local library and talked to a lovely librarian. And before you make any decisions based on what you read here or elsewhere, I recommend you do the same, as their practices may vary.

  Still, allow me to summarize what my southeast-Michigan librarian told me in a straightforward sentence (and this is not a direct quote):

  Librarians don’t give a realm about ISBNs.

  Sure, the code can help locate a book, but librarians are often just as capable of searching for things via title and author. They’d even use Amazon as a reference for locating works if needed, especially independently published ones, which again, they’d search for by… you guessed it! Title and author.

  Librarians do order their books from vendors, but they’re not paying attention to ISBNs when they do it. They’re looking for content, peer-reviewed materials, and other qualifiers to decide on the titles for their shelves. (This doesn’t mean the vendors aren’t using ISBNs to organize their warehouses, but it’s not the main identifier used by librarians when they’re picking out titles. And if you’ve suddenly imagined street hawkers yelling out dozen-digit number strings at bewildered passersby, you see my point.)

  Moreover, libraries don’t pull in many indie authors’ works. But if presented with a free copy (hint, hint) or if repeatedly bombarded with requests for a title, they would certainly read and research it. Yet even then, the decision to shelve it is up to the librarian you hand it to. If you happen to leave your book in the hands of the one librarian who doesn’t like your work (or you), you’re S.O.L. (at least at that location).

  More to the point, harken back to your days in school libraries. Remember those often-colorful, alpha-numeric tags on the spines of books? Remember what that process of organization was called? The Dewey Decimal System. ISBNs play no part in a library’s method of categorizing titles—those 10- to 13-digit codes have zilch to do with Dewey. Librarians seem to think of ISBNs as a facet of the publishing side of reading material—a phase in a work’s birth that has little effect on a librarian’s appraisal of the copies resting in their hands and on their shelves.

  So, why in the name of a dragon’s emerald scales would an indie author still buy ISBNs from Bowker?

  EDIT: Imprints and wide distribution.

  ISNBs allow authors to choose which imprint is associated with their books. An imprint is a publishing company’s trade name. If you have your own publishing company, for example, you might want to point back to it by listing it as the imprint of record. The work can be reproduced through a myriad of other publishing companies, but as long as you’ve registered your Bowker ISBN to your personal publishing pagoda, that record of imprint becomes indelible—because you can never change it without issuing an entirely new and separate ISBN.

  Of course, chances are good, your Bowker ISBN will feature next to an indie publishing platform’s imposed ISBN to help them identify your title within their own system.

  So, the $295 question: should indie authors continue buying Bowker ISBNs?

  If you have your own imprint, hell yeah. You’ve worked your butt off to create a publishing company—even if it only publishes your books—and you don’t want to reference it? Cha.

  EDIT: And if you want to distribute to bookstores and libraries through a publisher that requires a Bowker ISBN to facilitate this (like Ingram Spark), yeah again. But there are alternatives to Ingram Spark, like Draft2Digital‘s D2D Print program, which provides a POD (print-on-demand) option and their own free ISBNs. As they say on their website (linked above):

  “D2D Print is a Print on Demand (POD) service where your published book will be listed as in-stock through online booksellers; and, when your reader purchases your book, only then will it be printed and shipped. There’s no need to worry about inventory, stock, or stock returns with a POD service like D2D Print. Your D2D Print book will be made available to Amazon and to all distribution channels served by Ingram, including Barnes and Noble and most independent bookstores in the US.”

  I reached out to D2D’s support team and asked about the disconnect between Ingram Spark’s recommendation that an author purchase ISBNs and D2D Print’s promise to supply a free version when they use Ingram Spark as a printer/distributor. A kind member of their staff replied quickly:

   “… we do supply you with free ISBNs for your print books and we do use Ingram Spark as our printer. It’s part of the agreement we have with them. We have global distribution with I.S. so our ISBNs will certainly suffice for retail stores.”

  While their program is still in the beta phase at the time of these edits, it is fully functional, if not perfected, and exemplifies the idea that you have alternatives.

  EDIT: Personally, I established a company for writing and editing, which acts as the business to separate book profits (fingers crossed!) from my 9-5 paycheck. While it was not originally meant to be an “imprint,” should I use Bowker ISBNs, it would become one. And while I could probably scrape together the now-$295 to buy a bundle of 10 Bowker ISBNs (it was $250 when I started thinking about publication), I have to decide whether to use Ingram Spark for distribution outside of Amazon and B&N or use another distributor, so I can put those funds toward my marketing plan.

  One might surmise that Bowker’s recent price hike suggests fewer and fewer indie authors are bothering (although Bowker might just be reacting to inflation). Articles like those I’ve linked to above tend to steer indie authors away from the practice, if for no other reason than to pinch a penny… or 29,500.

  But even if the bundled price tag won’t break you, you need to decide, based on the platforms you publish with, whether buying an ISBN is of value or akin to buying a CD—or even a cassette—player (think iPod, youngsters). At this moment, the practice is by no means dead but appears to be trending—slowly—toward obsolescence.

  -HA

  Have any experience with Bowker or indie ISBNs? How’d all it go? And how has your experience affected your opinion on this debate?

  Do you know whether all vendors supplying libraries and bookstores can only access indie-published works that sport Bowker ISBNs?

  And if you know someone who’s struggling to make this decision (or hasn’t even realized they need to make it), please direct them here as a place to start their research. I hope it helps!

  
• 

  Character Building - Pre-Publication - Publishing

  Why Heather Ashle?

  August 17, 2021 - By Heather Ashle

  

  Back in college, when I was flirting with the idea of being a writer and genuinely making an ass of myself in numerous composition classes, I daydreamed about my pen name. (Now, I just daydream about plot points and character exposition, but I wasn’t writing an all-consuming series then.)

  I probably should have been focusing on more important things—like how to be a better writer—but (if meditation has taught me nothing else) the mind goes where it will. Back then, I aspired to a loving marriage, a successful career, and financial freedom. All these things shaped my daydreams. 

  Then, the 2008 housing crash decimated our economy just before my graduation from Oakland University. There were no jobs, even in the fields of writing and editing. So, there went the springboard-into-a-successful-career idea. And I had just broken up with my college boyfriend, so there went the plan for wedded bliss. I wasn’t finding work, and I wasn’t changing my last name, so I stayed in school.

  I knew going in that a degree in English was generally viewed as useless. But as a wide-eyed college freshman—fists on my hips, turned toward the wind, hair flaring out like a cape—I decided to use my education to overcome the stigmas! So, four years later, when I couldn’t do that right away…

  I doubled down and got another English degree.

  After graduation (the last one), I came up with an idea for the Realm Riders Series. If you’ve seen my timeline of its evolution, you know that a lot of life and a lot of years transpired between the birth of the series and today. And while my name still hasn’t changed, and my career has taken a different path than expected, those life experiences taught me invaluable lessons about our world and the people in it. Since my jobless wake-up call of 2009, I weeded out many unrealistic goals and dreams. But my aspirations of becoming a writer remained. My hands were still on my hips. I was squinting into the wind. But… I was also wearing glasses, an oversized sweater, and the freshman fifteen that finally caught up with me after college.

  Once I had a good portion of the story written, I knew I had some decisions to make. Finally, I needed a pseudonym.

  • Not because my status as “hopeless romantic” had been reduced to a passing appreciation for chick flicks and fairy tales—
  • Not because I wanted a name that would stick with me, regardless of how many failed marriages littered my past—
  • Not because of the middle-school monikers that developed from my surname (all of which made up for their lack of wit with their excessive obviousness)—

  —but because I was going to do something with my work.

  I needed a pen name to build a separate me who could live her truth as an author, free of the burdens of daily life, which normal-me would handle for her. Cuz I’m that kind of gal.

  Additionally, normal-me didn’t care much for her given name.

  My surname—to put it simply—is not fodder for the genre of fantasy. It might work for careers in football or engineering, but it lacks the ethereal quality one wants on the cover of her novel. (Sorry, Dad.)

  And my middle name never rang true for me either. I’ve met some delightful and not-so-delightful Ashleys in my time, but I don’t feel like an Ashley, even on a secondary, middle-name basis.

  I grew to like my forename over time…. You know, once I got past my hang-up that people only ever use it to get my attention or inform me that I’m in trouble (“LUUUUCYYYYY!”). And sure, countless others can’t remember my name is Heather because it “doesn’t suit my face”—whatever that means (no complexes here!). But it’s the name to which my ears have quirked up for three (plus) decades. I can barely break habits I’ve nurtured for less than a third of that time. I knew then, as I know now: Heather would have to stay.

  So, I searched for a new surname. It needed to feel like a part of me. It had to make my given name(s) truly mine. And it required at least a hint of fantasy-genre flare.

  Ashle.

  • Same middle name I was born with (well, most of it).
  • New, potentially unpronounceable spelling that is rampant in my genre (even if it runs contrary to the articles that advise against names no one can figure out).
  • A retelling.

  Ashle spun my given name into something new without divorcing me from my old identity. Hands on hips, facing the wind, and buttoning up my sweater (because I’m no longer a coatless child who refuses to recognize cold as a legitimate temperature). Heather Ashle. Still feels like me—but more mine.

  Retellings don’t always have to be dramatic. Sometimes, they just need to put a fresh spin on an old classic to breathe new life into a tale.

  Amazing what dropping a sometimes-vowel from your name can do, eh? 

  -H.A.

  Are you already writing under a pseudonym or considering one? Why did you choose it?

  
• 

  Drafting - Editing - Pre-Publication - Writing

  The Dreaded Beta Read (and Other Criticisms)

  February 21, 2021 - By Heather Ashle

  

  I remember ENG 216 and 383 with alarming clarity. At least, I think those were the numbers—that’s not the part I remember. I remember making an ass of myself in my creative writing workshops. 

  I have had experiences through the years that were life-changing, exhilarating, and downright side-splitting. Yet, all I can ever seem to remember, detail for detail, are the ones that were excruciating, debilitating, and agonizingly embarrassing. Especially that last one. I could be sitting stock still, happy, content, and a memory of a time when I was a complete ass will flash across my mind, and I’ll cringe—outwardly. 

  It may be the reason people give me strange looks. 

  A good number of those cringeworthy moments came right out of those classes, and each spasm has reminded me of the kinds of choices I would rather make and the kind of writer (and let’s face it, human) I would rather be. I may never stop wincing during quiet, pensive moments, but at least I won’t forget the lessons I learned from my own stupidity and others’ brilliance.

  But this is not a coming-of-age story. I’ve come to the conclusion that I don’t know what age you come to when you come of age. If someone has the answer, please let me know. But do it gently; I may not be old enough to understand.

  Picture this:

  You’ve worked on a project that is an extension of your heart and soul—possibly for enough years that they can be grouped together with shorthand: a dozen, a decade, half a century, what have you. Or perhaps it’s only been a few days or weeks, but this passionate outpouring has come from a place so deep within yourself that you didn’t even know it existed until it manifested in your work.

  (If you’ve never done this, you should try it.)

  Then, throw some cute little overalls and booties on that baby of yours, slather it in au jus, and abandon it in a forest of three-day-starved wolves.

  Now, lean back and watch what happens.

  Do you sit still?

  Do you poise a delicate, fruity martini in your fingers, cross one leg over the other, and lightly bounce your foot by the warm glow of a cozy fire?

  You damn well better believe you don’t.

  You grab a bottle of tonic, a tankard of gin, a bushel of limes, and you stop getting dressed, stop brushing your hair, manacle your feet to the chair legs, and sweat like a dog beside that roaring flame.

  So goes it with beta reads, as well.

  Beta readers are generous, selfless people, preferably who are well read, at least in your genre or one tangential to it, who are willing to read through a copy of your book that you wouldn’t release on an internet blog with privacy settings that don’t extend past your inner circle of closest friends.

  And then, those kind, haggard souls tell you what they think.

  When I was in my creative writing courses, I bit my tongue a whole lot more than the above might make you believe, but boy, did I have an astonishing lack of control when it came to my facial muscles and vocal cords.

  I don’t remember being cruel or growling at people. I do remember furrowed eyebrows and a voice colder than the Titanic’s bathwater as I asked questions to clarify the respondent’s commentary. And I would take notes, faithfully jotting down their ideas in the margins of my works, secretly wondering if they were right.

  And frankly, I don’t remember if they were. Probably. But they weren’t critiquing anything that had come from the true depths of my soul. I wasn’t mature enough to handle their responses with grace, and I wasn’t in-tune enough to produce works of passion that deserved their scrutiny.

  So, when I handed book one of my Realm Riders series to my beta readers, I aspired to do better this time. I simply sat with my nausea and cultivated a pearl of an ulcer in silence.

  Until they returned their critiques to me.

  I would read them, and my first response was usually, “I have to rewrite this whole thing. It’ll take a year to fix—at least!” And then, after my—now relatively private—temper tantrum, I would read them again and begin my list of questions.

  Some I asked of the respondent. Others I asked of myself. Still more I asked of the other beta readers in true cross-examination fashion. But I still had to be my own warden.

  “You have to fix it,” bad-cop me would say. “Because this is your passion. It’s worth getting right.”

  And finally, after years of recoiling at my own feral reactions to critics, good-cop me would say, “You’re absolutely right.”

  Selecting your beta readers is almost as agonizing a process as receiving their responses. But even if you came across one who forgot he or she was critiquing a part of your soul and came out with the long, metallic claws of a comic book character, you can find the value in his or her opinions.

  And you can find the worth in the shreds of your work that he or she has left behind, too.

  Remember, these folks only wanted to help you. They weren’t randomly stuck with your arrogant ass in a class they took under the auspices of self-improvement (it’s why you took it, too, remember?). They offered to rip your work a new asshole. For me, it’s penance. But for others, it will be soul-crushing. If you can, shift it to penance. Writers thrive on self-loathing anyway, and it’ll give you a leg up.

  Still, I recommend you do it. Get yourself a beta reader or three. If your work has been many years in the making, you’re probably too subjective to see what a new set of eyes will, and you will be astonished at what you can miss, even after a hundred drafts. It’s okay. You’re human. You’re gonna miss stuff. And you can only find it if you know it’s missing. 

  It’s nice to have that fresh perspective, even if it mugs you on the street. You’ll heal. And if you’re smart, you’ll make sure you watch your six a little more carefully. Your work deserves it.

  A HUGE thank-you to my several beta readers—you know who you are. But for your sake, in case you don’t end up liking the finished product, I’ll keep you anonymous here. Thanks. 

  -H.A.

  Ever worked with a beta reader? Be brave! Share your experiences of some of the best and worst responses you’ve received.