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BOUND by Vijaya Bodach

Disclaimer: Although we support this book because it is strongly pro-life and addresses several serious issues, the main character in Bound occasionally uses language that some Christians might find offensive. 

Within the first pages of Bound by Vijaya Bodach, the reader realizes that this is going to be a book that deals with serious issues. The main character, seventeen-year-old Rebecca Joshi, who was adopted from India at birth, was burned six years earlier over 50% of her body; her older sister, Joy, is intellectually impaired; their mother died a year ago and their father has emotionally withdrawn from his daughters. To be honest, I thought, is all that drama necessary in one novel? 

Guess what?

It is.

Rebecca struggles for freedom. She wants to get rid of her burned skin–a constant reminder of how freakish she looks. She remembers her first “so-called cosmetic surgery… At age eleven-and-half. Yes, sir. Cosmetic. Because nobody ever died from looking hideous.” (p. 13)

And she wants to get rid of her time-consuming and emotionally-draining responsibility for Joy. Rebecca, not their father, is the one who makes sure Joy gets to work. Rebecca is the younger sister who sticks up for her big sister when Joy is called a “retard.” Their father, Rebecca concludes, is his own god. 

One evening Joy urges Rebecca to come folk-dancing with her. 

“I’ll hold your hand,” Joy says. “I’ll never leave you.”

That’s what I’m afraid of sometimes. I don’t want us to be like a binary star system–circling each other forever. (p. 6)

Rebecca wants desperately to go to medical school so she can return to India and help impoverished children. Hand in hand with this desire is her yearning to fling off the burden of always watching over Joy.

Rebecca helps Joy become more independent which relieves her of some of the responsibility she inherited after their mother’s death. But as a result, Joy spends more and more time with a man from work and gets pregnant. Although Joy feels letdown by her boyfriend who wants no part of being a father, she quickly becomes attached to her unborn child. Rebecca sees the baby as one more obstacle to her leaving home for medical school and takes Joy to an abortion clinic. 

At the abortion clinic Rebecca removes the ultrasound gel from Joy’s belly and remembers her burn treatment.

They soaked me in a warm tub and my dead skin would peel off. What didn’t come off had to be scrubbed off. They’d hold me down and rub away the stinking flesh. The nurses always said they knew I didn’t have inhalation injuries because of my strong lungs. I wonder how I survived as I scrape the paper towel over Joy’s beautiful belly one last time. She doesn’t realize how lucky she is the pregnancy is not permanent. She can return to her normal life after this crisis is over. I have not been so fortunate. The massive burns have changed me and my life forever. I’m not even the same person I used to be. (p. 94)

Joy rejects abortion–much to Rebecca’s and their father’s disapproval. But gradually, Rebecca changes her mind as the unborn child becomes more real to the family. The three return to India to visit a beloved grandmother. In the familiar country of her birth, Rebecca thinks about why her mother put her up for adoption. After she considers the possible scenarios, she concludes, “Whatever the cause she didn’t want me. But at least she didn’t deny me my life.” (p. 165) 

The dichotomy between Rebecca’s high intelligence but deformed body, and Joy’s simplistic thinking yet voluptuous body runs throughout the book.  An additional thread is the mystery of the events surrounding Rebecca’s accident. The reader discovers bits and pieces of what happened when Rebecca was 11–but the true story is not revealed until close to the end.

This beautifully written story shows a realistic portrayal of a young adult facing many personal, family, cultural, and moral dilemmas. The satisfactory ending–including the father’s change of heart and accepting responsibility for Joy’s future–will leave the reader feeling hopeful for Rebecca, Joy and her baby, and their family. 

In our present socio-political climate, I applaud Vijaya Bodach for her brave pro-life position. I hope Bound will be a meaningful tool that counselors will use with young women experiencing an unwanted pregnancy.  

***********

By the way– Vijaya will be leading three workshops at our fall conference!

For a look into what inspired Vijaya to write this book, see Author Interview – Part I. For her decision to self-publish please see Author Interview- Part II. The review was first published on my blog.

When Carol is not working on her YA novel Half-Truths or blogging, you’ll find her traveling, trying to improve her golf game, or playing and reading books to one of her six grandchildren. A new member of the Write2Ignite Team, Carol seeks to serve the Lord with the writing gifts He has given her. She has published two non-fiction books and dozens of newspaper and magazine articles and enjoys teaching writing to teens and adults. For more information, please visit her blog where she reviews and gives away gobs of books!

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The Good, the Bad, and the Mediocre of Self-Publishing

Kenneth G. Winters, author of the YA novel The Lost Crown of Colonnade, served as a Navy chaplain; a few years ago, he retired from full-time ministry. After investigating several Christian self-publishing companies, he published this first novel in 2011. He shares here, in the fifth of our Write2Ignite author interviews on self-publishing, what he learned in the process.

1. Don’t sign to self-publish until your book is totally ready. I learned this the hard way. In 2010, I committed with XULON Press to publish my WIP (Work in Progress). They were offering quite a good deal, including some publicity that was not a part of the normal package, so even though I wasn’t totally satisfied with the book at that time, I signed a contract. After that, I had one year to get my finished file (manuscript) to them. One year is plenty of time, right? I was working full time and writing in my spare time. I put myself “under the gun” in terms of having a self-imposed deadline. When I publish book two, I will definitely have my finished and fully proofread file ready to submit.

2. Unless you pay extra, self-publishers provide no proofreading or editorial suggestions. I knew this when I signed, and this is not necessarily a bad thing, if you have a peer who will be honest with you about troublesome paragraphs (or chapters), and an outstanding proofreader(s). I did have a fellow writer to help recognize character development weaknesses and conflicts or weaknesses in plot or narrative. I also had good proofreaders. But what I didn’t have were proofreaders who knew the nitty-gritty final manuscript format requirements of XULON Press. [Though I was aware of those requirements, I didn’t catch format errors, and my pre-publication readers didn’t know to look for them.] As a result, the first printing of my book was double spaced, taking twice as many pages as it should have.

3. Every time the self-publishing company sends a sample copy, you must proofread it again before it goes to print. On first glance, my sample copies looked correct. However, Tammy Doherty, a talented self-publishing author, noticed that the title on the header of every page was incorrect. Instead of The Lost Crown of Colonnade, the title read The Lost Sword of Colonnade. The cover, title page, and publishing page with the ISBN all had the correct title. I had to return the books (at no charge to me) for correction of the title on each page header.

In the second sample, the title was correct on the cover, title page, and page headers. However, once again, we found an error. On the ISBN page, the title now read The Lost Sword of Colonnade. Fortunately, we detected the problem. I proofread the book both of those times. My correct final draft/file was used in both of the first two samples.

The publisher made that one small correction, showed it to me in the file, and sent me two printed copies of the book with the correct title on the cover, headers, and ISBN page. After this “minor” change (just one word), I failed to proofread the book in this final format. I assumed (no comments) that the book had been prepared from the same draft . . . used the previous two times. Wrong. Somehow, someone had gone back to my next-to-last draft, which had a number of formatting errors and about 25 typos, including one interchanged sentence. I gave my approval without proofreading or having anyone else proofread the book one last time. In most self-publishing houses, the author is responsible for all editing. When he or she gives final approval, the book is set up and printed that way.

A few weeks later, I received 1,000 copies of my book printed from the next-to-last draft, with all those errors. This wasn’t a total disaster financially, because I sold most of them and gave away about 100 to Christian schools. I was honest about the errors with people who bought the book, and most were gracious enough to buy the book anyhow. I more than broke even, which is pretty amazing. Even though [the double-spaced] printing meant each book was about 460 pages, my costs were quite fair. The initial “Bestseller Package” was $1,799. For printing and shipping, the 1,000 copies cost me $4,899, so my initial investment was $6,698. If the original printing had been single-spaced (232 pages), I would have saved about $1,000 on printing.

I did contact XULON about the mistakes. Although I was ultimately responsible for this major mistake, XULON admitted [some responsibility] in it and gave me a significant [price] break on making the changes. I really appreciated this. Those who buy the paperback or e-book are now receiving the version I intended to release.

By the way, XULON provided me with what I consider a beautiful cover (front and back).

Now, I am preparing to publish book 2, The Enchanted Bride of Colonnade. I believe I am better prepared to avoid the [problems] I fell into with The Lost Crown of Colonnade. (I was tempted to put the word sword in place of crown, just to see who would notice.)

This time, I will be using Kindle Digital Publishing (KDP), [which allows me] to create the e-book and paperback file for free, paying only printing costs. KDP offers stock graphics and guidance on creating front and back covers. However, I will pay someone to do the cover.

Initially, I plan to give Amazon exclusive rights to the e-book version. Doing so [allows me to] include the book in what is called “Kindle Unlimited Free Books.” [Subscribers to that service] can download any book [in] it for free. [Those who are not . . . Unlimited subscribers] . . . pay the normal Kindle price of $2.99, and I receive the full royalty. If an individual selects my book on Kindle Unlimited, I receive a much smaller commission. However, [Unlimited] is a great way to build an audience and gain reviews. People will click on a free book from an unknown author to check it out. They might not pay $2.99 to do so.

I am still studying KDP procedures to understand all of the details of creating and producing the paperback version. In any case, I retain full rights to my work for both versions, and I may cancel my agreement for either version or both with five days’ notice. The printed version will be available for sale through all book outlets. XULON [set the price for my first book], but [with KDP], I set my own price for the paperback.

I hope my lessons learned are helpful to other writers. There is certainly a place for the self-publishing companies, but I’m going to try this less expensive approach.

Contact Information
Author name: Kenneth G. Winters

Phone: (774) 922-4144
E-mail: winterskn@gmail.com
Amazon author page for Kenneth G. Winters: https://amzn.to/2IlR9I7

Barnes & Noble link: https://bit.ly/2Io8zQ9

Interview series by Deborah S. DeCiantis, director of Write2Ignite Conference

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Author Interviews III: Sandy Carlson’s First Self-Publishing Experience

Author Sandy Carlson was born in Michigan, lived in six other states, and now resides in Michigan again. A former elementary teacher, Carlson is a blogger and a long-time member of SCBWI. She’s published in magazines, e-zines, newspapers, and anthologies, in addition to being the author of historical fiction, fantasy, and nonfiction books. Today, she writes, speaks, and tutors dyslexic kids. Here, she contributes her insights to our W2I self-publishing series.

  1. What book did you first publish using a self-publishing provider or system? The Town That Disappeared (Genre: Middle grades historical fiction. Target age group: 3rd–7th-grade readers; leveled at T [5th-grade reading] with F&P.)
  2. What publisher or system did you use? CreateSpace
  3. When was the book published, and how long did the project take from start to finish? Town was published in 2013, but the idea came eight years earlier from a woman who lived in that area, where sometimes there would be a roof exposed in the sand dunes, and other days would be another, or none. Mostly, my time was spent in researching the era and area.
  4. How many self-publishing companies did you investigate? Three (3)
  5. What factors led to your choice? CreateSpace seemed simplest to understand, and the cheapest.
  6. How many up-front costs did you incur to publish your book? In my research, I traveled several times to the area for a full day each time. I paid $150 for the cover illustration and design. There was the S&H on the POD book copies. I was so hopeful lots would sell, I first purchased more than I needed. (For later books, the same illustrator now costs twice that, and I have a freelance editor from NY going over my stories for . . . $300–$500 per manuscript, but both are well worth it. I learned how to do my own formatting, but CreateSpace has employees who can do that for [a fee].
  7. How long did it take to recoup these costs (if you have), or what’s the projected time frame to recover them? I recouped the cost of Town that first year, but as prices go up, I don’t expect that for other books.
  8. How much control did you maintain over the process (editing, revision choices, cover design, illustrations, book type setup (font, size of print, etc.), book description for marketing purposes, etc.)? I had total control. It was tough. It was time-consuming. But I couldn’t afford to publish any other way.
  9. Did you hire a professional or use services provided by the self-publishing company for any of the following?
  • Cover design: Yes
  • Illustrations: N/A
  • Editing: Not for Town, but for later books
  • Layout/design: Yes
  1. Did the self-publishing company (if used) provide software services to create book files for printing or e-book conversion of your manuscript? It was easy to paste in my story.
  2. What software or process was used? I have no clue.
  3. Did you do the typing in this system, or was it provided by the company? I typed it. I then “poured” (uploaded) my manuscript into their format (which I was able to choose).
  4. If you purchased software yourself, what was the product? What was the cost? N/A
  5. How much learning curve and time were required for the typing/file preparation? For that first book, it took months. And then I realized that the final print was not what I had uploaded because, apparently, I’d used two different paragraph tags, and the pages looked so ragged.
  6. How many books (if print) did you have printed initially? Did you use/are you using print-on-demand? I printed 100 copies for the first time. Because this is a POD company, I have learned to order only 20 copies at a time before I do a signing.
  7. Is the book being marketed in stores (print)? Town is a niche book—Michigan historical fiction for kids—so I “hand-sell” copies to bookstores and gift shops in that area where the book takes place.
  8. If online, what sites offer your book? Town is also available from Amazon and as an e-book with Kindle.
  9. From your first self-publishing project, what advice do you have for authors who are considering embarking on a self-publishing adventure?

Do . . .

  • Make sure your writing is superb. If you can’t afford a professional, get other writers and readers to go over it. The more willing victims, the better to make your words sing.
  • Realize everything costs money. Even going the cheapest way, it costs.
  • Search for the publisher which will best meet your needs, not just financially.
  • Plan to spend months figuring out how to market and promote. It’s a whole different language and world from writing (unless you can hire someone to do this for you.)
  • You’re not in this alone. Meet with other authors. Go to conferences; attend webinars. Ask questions.
  • Read about the writing craft to better yourself. Read a lot, both in the genre you write, and in other genres. You can never tell from where the creative sparks may start to fly.
  • Write another book.

Don’t . . .

  • With seven books self-published, my biggest “Don’t do this” is, surprisingly enough, don’t self-publish . . . if you can help it, for traditional editors and marketers do wonders with your words.
  • Don’t fret, cry, or wail when you don’t get rich from self-publishing. (Refer to #7 on the “Do This” list.)
  • Don’t neglect yourself. Keep daily refreshing your physical, mental, emotional, and spiritual health.
  • Don’t neglect your family.
  • Don’t forget to include God in every step you take.

Find more about Sandy on Facebook and at SandyCarlson.com. You can also find her on Twitter (@sandycarl).

 

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Author Interviews II: Laurie Gifford Adams Shares on Self-Publishing

Laurie Gifford Adams began writing young adult novels during her career as an educator. Adams is the author of Finding Atticus, www.RUinDanger, Over the Edge, and Before I Knew. A former Prattsburg (NY) High School schoolmate of W2I Team member Darcy Hendrick, Adams has agreed to share her self-publishing experiences for our informational series of author interviews on the pros and cons of this publishing option.

What book did you first publish using a self-publishing provider or system? Title: Finding Atticus (2009); genre: middle grade contemporary.

What publisher or system did you use? I-Universe.

When was the book published, and how long did the project take from start to finish? I started writing the book in October 2008 and finished in February of 2009. I had planned to send it to agents and editors, but I used my English classes as first readers, and they liked it so much that they wanted copies. That’s when I decided to have a few available for them. However, subsequent events [led to my decision] to just leave it as self-pubbed because it had taken on a life of its own.

How many self-publishing companies or products did you investigate before choosing? Three or four.

What factors led to your choice? I-Universe was very easy to deal with. They took the guesswork out of the process. (However, their prices doubled after I published Finding Atticus, and I wasn’t thrilled about paying to have it published.)

How many up-front costs did you incur to publish your book? With Finding Atticus and www.RUinDanger, the family internet safety book that I co-wrote, it cost under $500 to have everything done . . . ISBN, cover, etc.

How long did it take to recoup these costs (if you have), or what is the projected time frame to recover them? Did the publisher give an accurate projected time estimate? I recouped the cost on both within a few months, but that’s not always the case. I didn’t receive an estimate from the publisher.

How much control did you maintain over the process (editing, revision choices, cover design, illustrations, book type (font, print size), and book description for marketing purposes? With the first two books through I-Universe, I didn’t have control over books size, type, font, or price. That’s the reason I switched . . . [to] Createspace. With Createspace, it’s more work, but it’s way cheaper to get a book out and you control almost everything—to a point. I’d still like my hard copy book prices to be lower, but I have them as low as I can go.

Did you hire a professional or use services provided by the self-publishing company for any of the following?
Cover design: With Finding Atticus, I sent . . . a cover photo and [the publisher paid an artist to design] the covers. With Over the Edge and Before I Knew, I hired a cover designer, and for time’s sake, I also hired the interior designer because I didn’t have time to figure it all out. One of my critique partners did all of that herself, so she has almost no upfront money invested. Personally, I’d rather pay a professional who knows what they’re doing and can deal with any issues.

Illustrations: N/A

Editing: This was all me, my first readers, and a couple of people that were willing to edit for me. The important thing is to have others, not just one other person, go through your books for not only grammatical edits, but also for plot concerns. I can’t stress this enough. On the current book, I have nine first readers and two people working on edits and plot holes for me. I don’t pay . . . them, but I do acknowledge them in the books and give each a signed copy.

Layout/design: I choose to hire someone to do this, because I just don’t have time.

Did you self-publish in print or e-book format, or both? Did the self-publishing company (if used) provide software services to create book files for printing or e-book conversion of your manuscript? I have books in both formats. The companies and designers I hired took care of all of this for me since they had the expertise . . . . My critique partners do all of this themselves.

What software or process was used? I have no idea.

Did you type the manuscript in this system, or was typing provided by the company? It was provided by the company.

If you purchased software yourself, what was the product? What was the cost? My critique partners have used Canva and other programs.

How much learning curve and time were required for typing/file preparation? Based on what one of my critique partners has done, it . . . could be a full time job. Hence, why I hire this out.

How many books (if print) did you have printed initially? Did you use/are you using print-on-demand? I use print-on demand, but I always order author copies (which you can purchase cheaper than the cover price) so that I have them on hand. The good part about print-on-demand is that they’re sold as people want them. The bad part . . . is that most bookstores aren’t willing to take a chance on the books because they can’t return them if they don’t sell. I do have a couple of [local] bookstores that . . . have had good success selling my books.

Is the book being marketed in stores (print)? Only in a select few stores.

Is the book being marketed online? If online, what sites offer your book? My books are available through Amazon, Kindle, Nook, Barnes and Noble, KDP.

Advice for authors who are considering embarking on a self-publishing adventure:

  • Do read and re-read your story many times.
  • Do have multiple “first or pre readers.”
  • Do have a couple of people who are willing to go through and check grammar, spelling, etc.
  • Do listen to critiques, but don’t feel that every suggestion needs to be used. This is your story. You know what point you’re trying to make.
  • Do listen if a reader tells you something just isn’t believable or it’s confusing. You know exactly what you’re trying to say, so it’s likely you’re not going to see it, even after it’s pointed out. Listen to them. If they say more detail is needed, take a good look at what you’ve written.
  • Do work with other writers.
  • Do join writers’ groups. The smartest thing I ever did was to get involved with other writers because, especially in the beginning, most of them knew way more than I did about writing, about publishing, etc. Surround yourself with these people.
  • Do attend conferences. I have attended many local and national conferences, and I can hear the same thing five different times, and each time I take something different away from it.
  • Do attend writing workshops. Everyone can learn, even those who are multi-published.
  • Do read books within the genre you’re writing. It’s important to see what’s out there, and it’s also important to see what is appealing to readers. You can also study style.
  • Do find a “platform” that helps your books stand out. For example, I’ve chosen to use an “education” platform. In my Finger Lakes Series, every book has dogs who are used as assistance, emotional support, or as therapy dogs. Think about the themes in your books and make sure you’ve backed them up with your plot.
  • Do keep your audience in mind. Whom are you targeting for your books? Who do you think/hope will read them?
  • Do expect to do a lot of self-promotion and marketing. People don’t know you have books out there if you aren’t out there yourself letting people know.
  • Do take advantage of the multiple social network opportunities to market yourself and your books. (But don’t overdo it . . . see a response in the “don’t” section that addresses this.)
  • Do accept opportunities like this one to participate in a blog interview, speak at a library or bookstore.
  • Do donate books to causes. Even though this seems like a loss, I write this off as “marketing and publicity.” I occasionally run contests either on FB or on Goodreads.
  • Do realize I am not an expert in this. I am still learning so much all of the time, but I listen and explore. I’m always looking for new opportunities to share my books.
  • Do realize that it will take a while to build a readership.
  • Do encourage others to promote your books and to write reviews for you. These are extremely important in raising an author’s profile on Amazon, etc.
  • Do write reviews for others as well. It matters. It’s important to give more than you take.
  • Don’t listen to every critique or comment you get. Every reader is coming from someplace different and will have a different opinion. Listen to them, but be picky about how much you really believe you need to change your story. If you hear the same comment more than once, then it’s definitely a concern.
  • Don’t give up. This is not easy. You have to constantly be looking for ways to market your book, get attention for your writing, etc.
  • Don’t jump all over in genres if you can help it. It’s difficult enough to build a readership without confusing them. If your readers are expecting your books to have a hometown, folksy feel, and you suddenly have a book that is about city life, you might lose readers. If your readers are expecting a nice contemporary story and the next one is . . . vampire, unless they like to read across genres, you’re probably going to lose them.
  • Don’t make your only contact with readers about your writing or books. Readers like to get to know the authors, too. You don’t have to go crazy with personal stuff, but readers like to know you’re “real” and they like to be able to identify with you in some way. If all you do on social media is market your books, people will quit looking.
  • Don’t buy hundreds of books thinking they’re going to be easy to sell, because you’ll probably have that inventory for quite a while unless you happen to get lucky with an event.
  • Don’t think every opportunity to go somewhere with your book is going to result in hundreds of sales. Sometimes you . . . sell one book — or none. But you’re putting yourself and your name out there.

If it’s . . . going to cost you a lot to be involved with, seriously consider the ROI (return on investment). If you have to pay an [event] entrance fee of $100 to have a table, when you figure out your profit, [don’t] figure it based on how many books you sold that day. . . . [I]f you paid $10 for [each] book from the publisher, and you’re selling it for $13, you’re only making $3 profit on each [sale]. So, in order to break even at this $100 table, you have to sell 34 books (. . . [to] be $2 ahead). Too many people don’t think about their initial investment . . . instead, in this scenario, they’ll say if they sold 34 books then they made $440, but they didn’t. They actually cleared $2 because they have to figure in the initial investment of $340 (34 books x $10 the publisher charges them), then $100 for that table. . . . [Y]ou already have $440 invested in this event before you sell anything. (That looks convoluted, but it’s the case.)

In this scenario, the author has earned $2 above expenses, but it has yielded possibly 34 more readers and name exposure, and there’s no telling how valuable that might be.

Author website/contact information:
LaurieGiffordAdams.com
Facebook: AuthorLaurieGiffordAdams
Twitter: @LaurieGAdams

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The Importance of Professional Editing before You Self-publish

By Brenda Covert

True story: One year while celebrating my young adult daughter’s birthday at her favorite restaurant, our group sang the birthday song. Suddenly, a fashionably-dressed woman appeared at our table to wish my daughter a happy birthday and to give her an autographed copy of the woman’s book. I love books, so when we got home, I looked the gift over. The cover was well done, and the story—written for Christian women—seemed interesting, but when I began to read it, I was thoroughly disappointed! What looked like a professionally done book was self-published and riddled with punctuation and word mistakes—not misspellings, but wrong words spelled correctly. For instance, would you be familiar with the expression “mother’s raft”? Me neither. From the context, I deduced that the author meant “mother’s wrath.” There were many such errors in the first two chapters, which is as far as I got.

A good editor will notice and correct those mistakes. A good editor will also point out where an author has left a train of thought and never returned to it, used too much description, explained rather than shown a scene, and missed the boat by using clichés. (See what I did there?) A good editor is not just a comma nazi but someone familiar with your chosen genre who will work with you to improve and polish your writing. The book above was missing a good editor, and all the rave reviews in the front (likely written by family and friends, I think cynically to myself) couldn’t disguise that fact.

It’s so easy to publish e-books and print books these days that many writers, excited about having “finished” a book, hurry to self-publish and watch the dollars roll in. They don’t realize that 1) as a new, unknown author, readers won’t be clamoring for their book, 2) if their first work isn’t a stellar representation of what they can produce, they won’t develop a fan base and or gain the interest of a publishing house, and 3) a book is not truly finished until it has gone through the editing process, which is not done quickly!

You need an editor. It makes no difference whether you got straight A’s in high school English; every author needs an editor. I’m an editor, and guess what! When I write, I have editors! Even picture books require editors. Our eyes can trick us into believing we see what we intended to write rather than what we actually wrote. We need a trained set of eyes to spot what we can’t see.

Good editing will cost you. “A laborer is worthy of [her] hire,” as 1 Timothy 5:18 tells us. The saying “You get what you pay for” is also appropriate. I was the editor for a book that had been accepted for publication after it had been critiqued (for free, of course) by the author’s writing group. My edits and notes offended the author, who pointed out that both her writing group and her family had thought her work was a polished gem, which she much preferred to my pointing out inconsistencies and factually false information (that the publishing house wanted corrected)! I was doing the job I was paid to do, and doing it to the best of my ability, applying all my resources as well as plenty of time. Writing groups can be helpful, but their help cannot take the place of the work done by a good editor. Family and friends can be amazing support, but they are usually more interested in encouraging than correcting you—if the need for correction is even recognized.

So please, if you are going to self-publish a book, don’t rush into it. Be willing to work with an editor, especially if you hope to make a career out of writing. If you present your best work to readers, you’ll avoid reviews that complain of technical mistakes in your writing. Not only that, but your message will stand a better chance of reaching and resonating with its audience.

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The Tale of Three Authors

Cheri Cowell I am an author/publisher. I began writing in 2000 with magazine articles and seven years later published my first book. Recently, I had my fourth traditionally published book release with Zondervan, but I find the most satisfaction in helping my fellow authors extend their reach through my company, EABooks Publishing. So here’s my opus, the Tale of Three Authors.

Amy* was considered a successful author with two books published by traditional publishing houses. However, there was one book she’d pitched and pitched and had been unable to sell. The book represented her heart’s cry and passion, and she wouldn’t rest until it was published.

Chip* was a leader in his local critique group, winning several writing awards and the admiration of many. Yet when he sat before editors at writers’ conferences, he performed poorly and never knew how to answer the platform question. He wasn’t good at selling himself or his work, but he was a good writer with a lot to say.

Bonnie* was a retired high school English teacher who’d married her high school sweetheart. Together they’d served as missionaries around the world. Now that her husband was gone and her years waning, she began to look at the legacy she was leaving. Her grandchildren loved the story she always told about a young girl in Bangladesh—a true story about a girl and her life of faith in a foreign land. Bonnie knew she didn’t have the funds most self-publishers were charging, and yet she didn’t fit the profile of the up-and-coming author the traditional publishers wanted to sink their money into. Was there a place for her in the publishing world?

These three writers found a place with EABooks Publishing

The same year Amy released two traditionally published books, she released the book of her passion as an e-book. She timed it perfectly to piggyback on the publicity from her traditionally published books. Now she knows that the message of her “passion book” is reaching people and making a difference.

Chip has published five books with EABooks Publishing, some as e-books and others as print-on-demand. He’s found a new outlet for his creativity, and with marketing help from EABooks, he’s developed a fan base. He’s even making a little money. His fans can’t wait for the release of his latest project—an audiobook.

It took Bonnie a long time to make her decision, but when she finally decided to go with EABooks Publishing, she found the whole process empowering. When her book began selling on Amazon, she sent a link to a friend, who decided to purchase hundreds of copies for the children’s home he supported. Bonnie would have been happy to sell only to her family and friends, but sharing the gospel with hundreds of needy children makes her heart sing.

This tale is still being written and has room for the stories of more authors! Come share yours with me—Cheri Cowell, owner and president of EABooks Publishing. I’d love to hear about your book!

*Names and genders have been changed, but these stories are true.