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This is why I’m excited about being part of this ‘scary story’ project.
My story is based on real events that took place in the North Atlantic in December 1835, involving an Irish ship en-route from Nova Scotia to Limerick.
One of the many engineering projects I worked on in the 1980s was aimed at increasing the quality of the synthetic fibre the company produced. There were two benefits claimed for improved quality:
- We could reach more discerning – and, therefore, more lucrative – markets for our product, and
- By reducing the quantity of product that was rejected, we could significantly increase productivity.
Later, whilst working for another organisation, I was part of a team introducing a concept called Total Quality Management (TQM).
TQM is a philosophy based on the work of an American, Professor W.E.Deeming. An engineer and statistician, Deeming was instrumental in creating the Japanese post WWII industrial ‘miracle’. As producers in the USA and Europe found themselves unable to compete with Japanese quality in the 1980s, they began to adopt the same underlying principles. Soon they were incorporated into national and international standards. The International Standards Organisation, for example, defines TQM as: “A management approach of an organisation centred on quality, based on the participation of all its members and aiming at long term success through customer satisfaction and benefits to all members of the organisation and society.” (ISO 8402:1994)
Implementation involves every member of the organisation in thinking about how to improve the way they carry out their individual functions, and seeking ways to continue improving. A great deal of effort is put into training so as to ensure every member of the team develops his or her full potential.
Quality Principles for Creatives
How might these principles be adopted by creative people, especially writers? After all, we mostly work alone. We can still aspire to continuously improve in everything we do. Great artists regularly produce sketches and studies in preparation for a significant painting. A writer will produce several drafts of a novel before showing it to a trusted beta reader. Jeffrey Archer is on record as producing at least ten drafts of every one of his novels, all in longhand. Only then is the book released to an editor who will suggest further improvements.
But a book is more than the content. There are many other factors that contribute to the quality of the finished article, including cover and formatting. It is at this stage that the work ceases to become the product of a single individual and is handed over to a team that might include an agent and publisher as well as editor and cover designer. All members of the team need to have in mind the single goal of “success through customer satisfaction”. In this case, of course, the customer is the reader.
What steps do you take to ensure reader satisfaction? How easy do you find it to work with others – beta readers, cover designer, editor – to achieve that aim?
I have posted previously about my experience using CreateSpace. I thought it might be useful for people to see a guide to what other options are available for getting your book into print. If you haven’t considered doing so, it is worth remembering that thirty-six percent of book buyers read only print books. That’s according to a 2015 survey conducted by the Codex Groups and quoted in this New York Times article. It is a significant chunk of the market that you are unable to reach if you limit yourself to digital.
CreateSpace, and the other businesses I’ll be reviewing below, use a process called Print on Demand (POD). This allows printing and binding of paper covered books in very small quantities as and when an order is received. It means that neither you, the retailer nor the distributor needs to maintain a stock of your books. In stead, the placing of an order by a customer on-line triggers the printing of the book he or she has ordered.
Bricks and Mortar
In theory the same should apply to bricks and mortar stores, because CreateSpace and the others offer distribution via major book distribution networks in the USA, UK/Europe and Australia. I have, however, found little evidence that the major book retailers are interested in accessing self-published books via these channels. All the more reason to welcome the prospect of Amazon entering this section of the market.
“thirty-six percent of book buyers read only print books”
Let’s begin with Lulu, one of the longest established companies in the business. A look at their website demonstrates that the publishing process there has many points of similarity with CreateSpace. As with CreateSpace, there are no upfront costs unless you choose to avail of additional services, like cover design, for example. When it comes to distribution, however, the author compensation is significantly less than with CreateSpace. These screen grabs illustrate what I mean, using identical examples in the respective royalty calculators.
Both offer a range of cover templates you can adapt if you do not wish to pay for a cover taylored to your book’s theme. Each has a comprehensive guide to help you through the process. Both allow you to proof the finished article and make changes before going live. CreateSpace offers a range of paid-for support services such as editing, cover and interior design/formatting and marketing.
If Lulu and CreateSpace are the market leaders, what other companies might an aspiring author consider? And what might make you think twice about using them?
Feedaread is a provider that has commercial links to Random House. It claims to be part funded by the UK Arts Council. There is no charge for the basic publishing service. For distribution they require a one-off charge of £88 UK, $140 US, $A175, Australia and €125 Europe. Typical royalties quoted on their site for books sold through worldwide distribution is around 20%. Books sold on their own website receive between 30% and 60%.
They offer a limited range of cover design templates. The site also claims that it provides “free feedback every 4 months for our top ten highest selling authors opening chapters from Random House and Orion”
IngramSpark is a service provided by one of the world’s major book distributors. There is a small set-up fee which includes free e-book creation at the same time. In addition, distribution is charged at an annual cost per title. They quote 45% to 70% royalty, less printing costs. Their royalty calculator is confusing since it requires you to set a wholesale discount. I haven’t tried it but the cover creation process looks difficult in comparison with the others. You enter your book’s details into an on-line form and they e-mail you a template with which to create your cover.
One key advantage of using IngramSpark is the distribution they offer. Their claim: “More readers will have access to your books through IngramSpark than with any other platform.”
Bookbaby is a full service publishing platform that includes e-book and POD with editing, cover design, distribution and promotion for an all-in fee of $1655 which includes the supply of 100 ‘free’ copies of your book. This looks expensive, but bear in mind that purchasing editing, design and promotion services separately is not cheap. Typical royalties at Bookbaby are around 20% (see the screen grab)
To sum up, if I was to make a recommendation it would be CreateSpace, closely followed by Lulu and IngramSpark. Don’t be afraid of print. It does require time and care, but missing out on such a large section of the potential market for your work would be foolish.
No painter/decorator worth his salt would apply gloss paint to a door without first treating it with primer and undercoat. And, before any of that, a good sanding down is in order.
So why do some writers think the ‘gloss’ of proof reading is all they need before publishing?
Eamon did an excellent job on my latest novel, Transgression. This is why: