Kindlepreneur does a deep dive on book startup Books.by. Reddit also has quite a long thread with author feedback. And the overall picture is not pretty. Limited and expensive print options, a re-tread of an earlier website, dodgy reviews, highly yearly charges and more. There is definitely a space in the print on demand market for a service that leaves more money in authors’ pockets, but unfortunately books.by might not be the one.
No Feeding the AI, say Australian Authors
Publishers and authors were outraged when Google scanned millions of books for search purposes without permission. Many publishers sued Google and the cases went on for several years. The scanned books remain online and Google won some of the most important cases. The latest tech raid on published content seems much more insidious. Meta used the full text of many published books to ‘train’ its own LLM (Large Language Model), and other AI startups have been engaged in similar activities. Author reactions have been overwhelmingly negative.
7 Essential Tips for Authors on the Art of Research Organization
For writers, research is often the invisible backbone of compelling narratives, rich settings and believable characters. Historical fiction and fantasy worlds don’t magically come to life if the art of research isn’t mastered. It can mean the difference between a smooth creative process and weeks lost to digital clutter and forgotten references.
Why Organizing Information Is Necessary
The curse of creativity can be a messy mind. However, as much as wordsmiths would love a second brain to store and organize research data, disorganized information can still lead to a loss of time and effort skimming for details. Thankfully, some digital tools, like a bookmark manager, can make it easy for writers to track their digital library.
The reality of chaos can waste energy and time, precious resources that should otherwise be spent doing actual writing. Writers can’t afford these inefficiencies, especially under tight deadlines.
This article outlines seven essential, research-based strategies that every author — novice or seasoned — can adopt to streamline their process, boost productivity and elevate their work.
1. Get on the Right Track With an Outline
Aimless research can consume hours without yielding relevant insights. Creating an outline acts as a directional compass for the research phase, giving authors clarity and control. While it doesn’t have to be rigid, an outline serves as a skeleton for the writing structure. It helps identify core areas where deeper research is needed, especially in historical context, setting details or linguistic accuracy.
Drafting an initial outline or a concept map — even if it evolves later — ensures that writers are not merely hoarding facts but curating them intentionally. Authors who plan with subheadings or thematic chunks tend to maintain narrative coherence and avoid the temptation of unnecessary digressions.
2. Set Goals and Deadlines
Research can quickly turn into a rabbit hole that authors often fall into when inspiration meets unlimited information. But time is a finite resource. Without a plan, even seasoned writers risk over-researching trivial details and under-researching critical narrative elements.
Establishing strict time blocks — for example, allocating one hour for learning about 18th-century naval ships — ensures time is used wisely. Setting deadlines for each stage of the research process keeps projects on track and allows authors to focus on quality over quantity. Set timers, limit database scrolling and assign deadlines for compiling source notes. It’s not about how much research gets churned but how much it supports the manuscript.
3. Pen Notes in a Physical Notebook
While digital tools offer convenience, physical note-taking has a unique edge — it helps embed ideas into memory and provides a tactile sense of ownership over the research. Studies in education and cognitive psychology confirm that writing by hand improves retention and critical thinking; plus, physical writing encourages engagement in the work being done and can even boost critical thinking skills.
Moreover, having one physical notebook to return to minimizes the chaos of scattered ideas across apps, browsers or multiple devices. It also avoids the saving syndrome, where information is stored but never revisited.
For those who prefer digital organization, a compromise is maintaining a single dedicated folder segmented by labeled documents and relying heavily on search functions like Ctrl+F. Just avoid the trap of saving endless PDFs without ever reviewing them.
4. Label Each Idea Clearly
Proper labeling is a simple but powerful organizational technique. Whether working digitally or by hand, clarity saves hours later on.
Digitally, create hierarchical folder structures — for instance, a master folder called Book Research, with subfolders for Characters, Architecture, Weapons or Historical Events. Within each, label documents by topic, like Victorian Hair Trends.pdf or Etymology of Elvish Names.docx.
Physically, use headers, section breaks or colored tabs. Color-coding by theme — like setting, character and era — lets writers navigate notes visually without rereading everything.
In both formats, adopt a consistent naming system. Writers can thank themselves later when looking for that one obscure article about 14th-century Parisian street markets.
5. Create a Character Bio Template
For fiction authors, especially those developing expansive casts, character bio templates are invaluable. They ensure consistency and help make each character distinct. More importantly, having this structure ready keeps the research targeted. Use a customizable template like the one below:
● Name
● Hair color
● Eye color
● Nationality
● Language
● Birthday
● Age
● Clothing style/color
Add optional fields for motivations, fears, backstories, relationships or occupations. Then, file each character’s research — whether visual references, historical context or personality notes — under their corresponding bio.
6. Research Only What the Characters Know
In world-building, it’s tempting to research every cultural nuance, weapon design or medical practice in history. But ask — does the character know this?
Limiting research to what the characters can realistically access or perceive keeps the process efficient and maintains narrative authenticity. For instance, a 19th-century sailor won’t describe a storm using meteorological terms, so why research barometric pressure shifts?
This character-centric approach helps writers avoid information overload and unnecessary exposition while sharpening the realism and perspective of their prose.
7. Keep a Works-Cited Page for the Research
A dedicated works-cited document or bibliography is crucial for nonfiction authors who must reference their sources and fiction writers who draw heavily from real-world facts, locations or legends.
Maintaining this list ensures intellectual honesty and streamlines revisions, especially if an editor or agent asks where that specific fact can be found. It also aids in future projects — no need to re-research what is already known.
Many writers skip this step until it's too late. Avoid that mistake. Create the bibliography as the research progresses, not after.
Organize to Create, Not to Hoard
Research is the groundwork of compelling storytelling, but it can be more of a burden than a boost if it isn't organized. Whether an author is just beginning their first novel or working on their 10th nonfiction volume, these seven essential tips provide a professional framework for keeping information accessible, relevant and usable.
About the Author
Eleanor Hecks is a writer and web designer who is passionate about helping other writers grow their online presence. Her work can be found on her site Designerly, as well as publications such as IndependentPublishing.com and I Need a Book Cover.
Authors, Privacy and the Law
Richard Potter SC, defamation and privacy legal expert, has written an interesting paper on the current state of privacy law. In the introduction to the paper, he writes that:
“Australia has been an outlier for many years within Western legal jurisdictions by declining to introduce laws regarding serious invasions of privacy (outside existing personal data protection laws). The changes, to come into effect on 10 June 2025 throughout Australia, will almost certainly require publishers to engage in careful scrutiny of nonfiction publications – especially biographies and true crime.”
and in the conclusion:
“As with defamation, my advice is always to step back and imagine you are the person affected and try to stand in their shoes. Is it truly private and personal? Does the individual sometimes seek self-publicity? Is the information already in the public domain? Does it involve children in any way?”
No independent author wants to be caught up in expensive legal action relating to their book. If an non-fiction author suspects some of their material may be objectionable to other parties, she/he should seriously consider obtaining legal assistance or modifying the material in question. I have witnessed several expensive legal confrontations relating to defamation / privacy that could easily have been avoided.
The Typical Costs of Each Stage in the Publishing Process
Becoming a published author can be an expensive endeavour with little monetary rewards, at least initially. Once writers have a number of books published, the royalties increase. The lucky few get a contract and a small advance from a publishing house. Looking at the expenditures during each stage of writing, designing a cover, formatting the interior, and marketing gives wordsmiths insight into the expense of breaking into the business.
Cost for Each Stage of the Publishing Process
Online forums and blog posts offering advice about jobs to get into on a shoestring cite writing as an option. While it can be fairly inexpensive to jump in if one already owns a computer, there are fees to consider. How much money one makes on each project varies widely.
An Authors Guild survey indicated full-time novelists earn a median income of $20,000 per year, while part-time ones earn significantly less. New writers must factor in a variety of expenses to consider how much they actually earn.
Writing the Story
If the writer already owns a computer, pricing is significantly lower to get started. Some Chromebooks typically run under $300 and will serve the basic needs of having a Word Processing program and the ability to send email inquiries to publishers or upload the book to an online portal.
Many options exist for processing programs, but Microsoft Word is one popular option. Authors will need a Microsoft 365 $99.99 per year subscription to use the desktop version of the software.
Wordsmiths must consider the time it takes to finish a tale. People could spend the same hours on a side hustle instead of writing, so unsuccessful books are the same as lost potential income. Writers should weigh the pros and cons. One rule of thumb is that if the person can stand to not write, then they should do something else. If stories take over their thinking, the individual should go ahead and write them but understand profit is fickle.
Editing is crucial for an acclaimed story. While free software like Hemingway exists, for a better editing process, invest in Grammarly or one of its counterparts. Many authors pay a professional editor per page for at least a quick proofread, which can add up to hundreds of dollars per novel.
Formatting the Interior
Formatters must lay out the inside of the book in a particular way to grab the attention of an editor or for self-publishing on sites like Amazon, IngramSpark and Draft2Digital. A new writer will either pay someone for this service or learn how to format on their own by viewing YouTube videos and trial and error.
The price of formatting an interior depends on the number of pages and how many images are inside. Adding elements such as print versions increases the fee. More experienced designers also charge more.
Authors should consider how and where they'll publish, as the number of pages and thickness can impact the overall page count. Even the type of paper can make a difference in printing costs — for example, while nearly half of U.S. and U.K. consumers feel sustainable materials are crucial, these materials can rack up costs more quickly than traditional paper. Though, these extra costs may be at least partially offset by giving creators an edge with eco-conscious readers.
Designing a Cover
As with other aspects of a new release, the expense of commissioning a cover for a book varies. Artists may charge little for a premade cover but up to hundreds of dollars for a custom design. The more eye-catching ones belong to in-demand designers, who charge a premium for their services.
For a self-published ebook, using a service to make a design can save money. However, print versions are more complex and typically require expertise to get the sizing and layout correct.
Publishing Costs
How much a person spends to release their product depends on whether selecting a traditional publisher, assisted publishing or self-publish. For ebooks, expenses are lower.
Traditional Publisher: It pays the creator, either in royalties or a small advance that can pay royalties after the author sells enough copies to match the advance. The publisher pays for the cover art, formatting, editing and partial marketing.
Assisted Publishing: The company charges for a print run, which is typically thousands of dollars and may promise to market it. The project usually does not earn enough to be profitable. However, for someone who wants to get their memoir out or a business book, it can be a quick way to market with a professional end product.
Self-Publishing: The DIY option takes only time and effort to upload the finished work, assuming the author already paid for formatting and a cover. The writer keeps a higher percentage of royalties and maintains full control.
Publishing costs, like most things when launching a book into the world, vary significantly. Finding the right range takes dedication and practice.
Marketing
Whether traditionally or self-published, wordsmiths must create a budget for marketing. Costs to run a newsletter list, take out ads on Amazon and social media and participate in events add up. With around 151,200 authors and writers in the U.S., having a way to reach new readers is crucial. Add the expenses of maintaining an online presence, such as a website, to the marketing budget.
Costs Versus Rewards of Publishing
Many writers create books for the love of the craft. Whether the work ever turns a profit is a lesser consideration for them. Others love to pen novels and also want to make a living. Finding the right mix between spending and profit requires dedication. Getting into publishing requires at least some money. Being aware of the different possible expenses allows writers to make an informed decision about how much time they spend writing and how they release the book.
Article contributed by Eleanor Heck. Eleanor is a design expert for Designerly Magazine, where she keeps readers up to date with the latest WordPress and publishing trends.
Resources for Authors, updated
Independent authors are faced with a bewildering new world when they attempt to promote their books on snd offline. But there are lots of free or very low cost resources online. The following authors and sources do an excellent job of making sense of the contemporary publishing and promotional landscape, and all are worth reading.
Euan Mitchell's Your Book Publishing Options
How to Be an Author from Fremantle Press
Let's Get Digital by David Gaughran
Ricardo Fayet's How to Market an ebook
Ricardo Fayet’s How to Market a Book — Overperform in a Crowded Market
Amazon Ads Unleashed by Robert J. Ryan
Amazon Selling Services from Helium 10
Author 2.0 Blueprint by Joanna Penn
Multiple resources and useful links from Joanna Penn
Self Publishing Australia -- A Resource for Independent Authors
Sometimes authors need to be a part of a larger community, to support each other and share information. Self Publishing Australia is a worthy effort to create a venue where authors post frequently on a range of topics. To join the group, go here and apply
Laneway Press – Writing Coach, Editor and Publisher
From Regina Lane at Laneway Press, a description of her services:
A writing coach is an invaluable investment for the aspiring author. As an author myself, editor and a publisher, I have the experience to help you define what you want to say, who you want to reach and the impact you wish to have.
I can help you set writing goals, a structure and a program of work, and keep you focused and accountable. Even the most successful of authors benefit from coaching; someone to keep them motivated and to help move them through the inevitable blocks all writers encounter.
Whether you need a writing coach to get started, or an editor to fine tune your story, I can help you with:
Your goal – your vision for success, your core message or storyline. z
Your audience – what they read, what you want them to feel, know and understand.
Market research – styles, angles and approaches of other books, where are the gaps?
Writing and self-editing – knowing the difference and when to do what.
Assessment – sometimes the first step, if you come to me with a complete draft.
Editing – structural and copy editing to get your manuscript ship shape for publication.
Self-publishing – costs, platforms, potential for success, marketing and distribution.
Self-promotion – guidance in how to engage your audience via social and traditional media.
Contact Regina at https://lanewaypress.com.au/contact/
A Realm of Superheroes with Alisa Beagley
Alisa Beagley writes and illustrates action-packed books set in a world of superheroes and supervillains. Her latest book, Clash of the Powers is out soon and follows on from Captives of the Killer and Second Chances.
Alisa promotes and sells her books via her well-designed and informative website.
Why Seventy Percent Might Be Good Enough
Oliver Burkeman is at the more contemplative, philosophical and forgiving end of the self-help spectrum. No harsh admonitions, self-scarification and guilt-tripping from him. In this piece, he argues that near enough is often more than good enough, and a way of moving on to other things. A very relevant principle for writers trapped in an endless cycle of tweaking, restructuring and re-writes.
“Moving forward at 70% takes more guts, more strength of character, than holding out for 100%, because it entails moving forward amid uncertainty, anxiety, and the disagreeable feeling that comes with putting less-than-perfect work into the world.”
Sign up to his interesting newsletter here.
Visual Storytelling for Authors
How to Engage Readers Through Graphics and Design
Eleanor Hecks discusses the importance of graphic design in enhancing the reader experience:
Authors live in an age where attention spans are dwindling and competition for readers is fiercer than ever. Today, readers crave stories that capture their imagination while captivating their senses.
For writers and book designers, this is where visuals become a must-have tool for deepening engagement and enhancing the storytelling experience. Whether through a book cover or carefully crafted book opener, graphics and design can amplify a narrative’s impact, making it linger long after the final page.
What Visual Storytelling Is and Why It Matters
Visual storytelling is the art of conveying a narrative through images, typography and design. It goes beyond the written work, enhancing a story’s emotional impact and immersing readers in its world. For authors, visual storytelling is the connection between content and experience. It creates a richer, more engaging passage for readers.
In publishing today, this system has become increasingly important. Consider that publishers and independent authors sold over 767 million print books in 2023. When you factor in e-books, the figure climbs even higher. With so many options available, authors must find ways to stand out, and designs are one way to achieve that.
Visual storytelling is crucial because it fits the human brain’s natural preference for visuals. Humans prefer graphics over text because of a phenomenon called picture superiority, which psychologist Allan Paivio studied. According to Paivio’s dual coding theory, humans store visuals in two ways — as an image and as a word or phrase that describes the image.
In contrast, humans only store words as verbal representations. This means images are inherently more memorable, making visual storytelling better for capturing and holding readers’ attention. By integrating visuals into books, authors can create more relatable narratives on multiple levels.
Key Components of Visuals in Books
When adding images to content, authors create an experience that complements and enhances the narrative. Understanding the key components of graphics can create lasting impressions on readers. Success depends on the type of experience created, as 80% of consumers now consider it to be just as important as the quality of the product when making future purchasing decisions.
To give readers what they want, the visuals must contain various components, including:
Typography
Illustrations and graphics
Color theory
Layout and white space
Cover design
Carefully combining each of these elements enables writers to produce books that are visually appealing and emotionally impactful.
How Authors Incorporate Graphics and Design
Today's authors find creative ways to weave graphics and design into their storytelling, making books more dynamic and engaging. In fiction, many successful authors add maps to orient readers in complex fantasy worlds or use character illustrations to breathe life into protagonists.
In nonfiction, authors leverage images like infographics, charts and diagrams to simplify complex ideas and present data in a digestible format. For memoirs and biographies, authors typically include personal photos or handwritten notes to add authenticity and emotional resonance. By incorporating visuals strategically, they can enhance the reader’s connection to the content while making their books distinctive.
Ways to Engage Readers Through Graphics and Design
The following strategies offer ideas for authors and designers to use graphics and design elements to captivate readers.
1. Leverage Beautifully Illustrated Covers
An evocative cover is a great way to capture potential readers at first glance. The new Game of Thrones covers’ design perfectly exemplifies this. The series “A Song of Ice and Fire” uses traditional linocut art to create intrigue about the world the reader is about to enter. The covers perfectly capture Westeros and the danger that lurks within it, garnering attention and setting the tone for the epic narratives.
2. Design Immersive Chapter Openers
Whimsical chapter headers or illustrations can provide readers with visual cues. Such elements offer a glimpse into upcoming events, building anticipation and enriching the storytelling experience.
3. Add Visual Easter Eggs
Inconspicuous visual elements that follow the story’s plot or characters can delight attentive readers. These hidden gems encourage deeper engagement, as readers feel rewarded for their attention to detail.
4. Use Pull Quotes and Decorative Elements
Impactful lines with elegant designs draw the reader’s eye to significant moments. This technique spotlights key passages, amplifying their emotional connection and making them more memorable.
5. Experiment With Text Layouts
Creative typography can accentuate pivotal moments or emotions within the narrative. Authors can deliver intensity, urgency or tranquility by varying text placement and style, adding another dimension to the reading experience.
Turning Stories into Immersive Reading Experiences
Authors must use visual storytelling through graphics and design to connect with today’s readers. Visual storytelling elevates a book from a story to an unforgettable reading experience. As readers increasingly value the experience a book provides, investing in visual storytelling is a strategic creative choice. Start experimenting with visuals to convert stories into ones that readers will cherish.
Eleanor Hecks is a writer and web designer who is passionate about helping other writers grow their online presence. Her work can be found on her site Designerly, as well as publications such as IndependentPublishing.com and I Need a Book Cover.
A Philhellene Writes
Independent author Tony Whitefield has been profiled by the Greek Herald. Tony explains how his love for Greek culture, landscape and history led to him writing several works on history and fiction.
““I never ever thought that I could write a novel,” Tony said.
I’m a great believer that anyone can write, and having been a high school teacher for years, I thought, well I’ve written lots of articles, listing things and curriculum things and I’ve completed a master’s thesis and a PhD, so I just wanted to take that next step and commence writing.”
The 64-year-old said what he loved most about writing was the “aha moments.”
“I just love when I’m focused on such miniscule things and I can’t work out how to construct something, so I go away and clear my mind. Then, when I come back and start typing, it clicks,”
Tips and Resources for Independent Authors, 2025
WorkingType Design’s resources booklet has been updated with more author advice and resources. The booklet can be downloaded here. If you’d like to add your own experiences, advice or warnings, please let us know. The case studies in the booklet show that there are many ways to promote a new or existing book, on or offline.
Santosh Nambiar
Independent author Santosh Nambiar talks about Mindfulness. Santosh’s website does a great job of showcasing his books and services. Clean design, plenty of content and recently updated. And a clear introductory statement:
Liberation from your conditioned mind is Absolute Freedom
Are you ready to silence the unwanted mindnoise from your life?
The simple awareness of your conditioned mind will set you on the path to freedom from unwanted mindnoise, paving the way for peace, creativity, emotional wellbeing and clarity. Allow yourself to be free and live a more purposeful, grounded and conscious life.
Advice to Myself That I do not Necessarily Take
An acquaintance recently asked me to write some advice for her just-staring-out graphic designer daughter. This was my take, and I am not sure how good it is, or if I missed something important.
Make sure you put aside at least one quarter to one third of incoming payments to cover future tax / GST obligations. Super important to do this from the beginning, or you will be forever in the stressful position of playing catch-up.
Consider operating as a company – there are some tax advantages to this, but also more paperwork and accounting expenses. And you will have to pay the state workplace insurance fee each year, which has jumped to almost 1K per year.
Referrals are very, very useful, and they keep working for years. The bigger your network of contacts, the more chances that new jobs keep coming up. A client is much more likely to accept a quote from a business to whom they have been referred. You are in a sense a known quantity to them
Every author is a potential source of future work. It may be years in the future, but an author often writes a second or third title – if they had a good experience with you, they will come back. I have found it good practice to keep in touch with them by emailing newsletters with useful information for authors, new tools, author news etc.
Keep every testimonial / positive review you receive. Post them to your website, and ask satisfied customers to leave reviews on your google profile
Consider joining the Australian Book Designers Association or the Small Press Network
Make sure you refer your clients to other trusted suppliers – in your case, to printers, editors, proofreaders, illustrators, photographers etc. They will often repay your referrals in kind and if your clients have a good experience with one of your referrals, your status as a trusted provider will be enhanced. I have heard this referred to as the ‘honest broker’ role, and it is definitely worth aspiring to
Consider finding a compatible business partner or partners. Being a sole practitioner has its benefits, but also costs – difficult to have down time, difficult to grow past a certain point, becoming stuck in the same role, potentially unable to take on very large jobs or multiple large projects. Perhaps your business partner might specialise in web design, or assisting authors online or some other complementary service. There are services like Fiverr that connect you with typesetters, people who run amazon ads, ebook conversion etc, but I have always preferred to work directly with suppliers rather than through a third party. That said, I have found fiverr very useful for performing one off specialist tasks – creating a 3D rendered object, or a bit of specialist accounting
Consider offering a package service – authors or publishers often have several requirements and it is a ‘pain point’ for them to have to juggle multiple contractors to do them – eg. they may want a print version, ebook version, banners and ads, assistance with online advertising, a round of proofreading, an audiobook version etc.
If you prefer to go it solo, then consider employing an assistant as your business grows – either as a contractor or actual employee, remote or in-house.
Book design is easy to do from home / a home office, so it can be very low-cost. However, it can be good to separate home and work, or the latter will tend to take over the former. I had an office for many years, and it definitely had its pluses. My best setup has been a home office, but in a standalone building. So you leave the house to go to work, and when you are in the house, you are not working.
I got my first client by writing to publishers, and doing some occasional work for them, and then some design projects for councils and libraries, then some printers started referring authors to me to get their books set up properly (it is very important to have good contacts with printers) and it rolled on from there. It took a while to build up enough, and I was also working a day job for a few years.
I had to take on as many jobs as possible, as book projects can suddenly halt while the author messes around with proofreading, or runs out of money for a while, etc.
In terms of pricing – I have always tried to be mid-range, to get as many clients as possible and to give very reasonable prices to independent authors. I have seen designers who charge much more than me and obviously put a great deal more work into each project. That’s a valid approach, but my client base would definitely not bear those kinds of costs.
The book industry is changing fast, and who knows where AI is going to go. I already use it a lot for image generation, but it will no doubt get into layout and design as well. Hopefully there will still be plenty space for human-led design.
You will need to be someone who solves a lot of author or publisher problems in the one service, and to be super reliable and personable, thus justifying your rates. Most authors want to deal with a person, and especially to meet up with them and feel they are being listened to.
Draft2Digital: a good idea for independent authors?
Draft2Digital offers a very cost-effective distribution route for ebooks (print on demand also, but that service is still in beta, for various reasons). Its sale channels cover all of the large ebook retailers. It has a very simple and attractive service proposition:
We are Self-Publishing with Support. Your book is your priority. Our priority is you. We build tools and services that let you focus on writing while we take care of layout, publishing, distribution, print-on-demand paperbacks, and more. Keep writing. We’re here for the rest.
In a long and very informative blog post, author services firm Reedsy describes them as “The gold standard for self-publishing aggregators, Draft2Digital distinguishes itself with excellent customer service and a user-friendly interface. They’re the best way to sell your book with dozens of retailers without tearing your hair out.”
Kindlepreneur also has a largely positive review that dives into the details of uploading a new title and how the royalty payments and update fees work.
Users discuss vcry specific pros and cons of the service on a reddit thread. Important note: the 10% Draft2Digital fee is charged on retail price, not on profit, and comes on top of the share taken by the end seller.
Writers Weekly has published a number of very negative user reviews that indicate some administrative problems.
Plenty of users had complaints about the non-payment of royalties.
Draft2Digital books cannot access Amazon advertising or other Amazon sales tools.
In summary, a service that will be useful to many authors, but go in with your eyes open and aware of the moderate drawbacks, especially the Amazon advertising issue.
The Library of Lost Horizons by Trevor Hay: a review
Local author and academic Trevor Hay’s book The Library of Lost Horizons has been reviewed at some length in Quadrant magazine (subscription). Two brief excerpts:
“Hay speaks fluent Mandarin and since 1975 has journeyed widely to study Chinese literature,
theatre, and folklore. A compulsive collector, his library holds a multitude of forgotten stories from
travellers along Silk Roads in remotest Asia. In The Library of Lost Horizons, Hay recounts stories
garnered from the many archeologists, ethnographers, scientists, historians, anthropologists, and
inveterate dreamers who passed through deserts and harsh mountain passes to the soaring peaks
and mysterious valleys of Tibet and on to fabled Shangri-la. He adds reflections arising from his own
last trip to Dunhuang and the remarkable ‘Caves of the Thousand Buddhas’ on the edge of the great
Gobi Desert.
”
“Hay was soon captivated by China, a country that haunts him still. As he
notes,’…for nearly fifty years I have been in love with a much older woman. She likes to be called
Han. Sometimes she will answer to Tang’. He continued to be drawn to her languages and cultures
as he collected books ‘in English or in translation about the places that have contributed to the
formation of her character’. The Library of Lost Horizons takes you into the world of these books.”
The Library of Lost Horizons is available from Australian Scholarly Publishing, along with several of Trevor’s other titles.
Doing Your Comp Research
Serious independent authors spend time checking out their competitors, the so-called ‘Comps’ or comparable titles. It is a great way of getting a sense of a particular genre, prevalent trends, the key cover design elements that signal a particular fictional niche. A writer should have a good idea of their specific target readers — and, spoiler alert, it is not ‘anyone who can read’. If you have read a lot in the genre you are writing in (always a good idea), you will already have a fairly good idea of how your title/s relate to the existing literary landscape. Making a list of comparable titles, whether bestsellers or midlist, can also be helpful for book cover designers looking to get a more specific feel for your title. At the same time it gives the author a better sense of the overall commercial literary landscape.
IngramSpark Drops Setup Charges But Adds Another Fee
In welcome news, IngramSpark have dropped their excessive new title charges, and also removed revision charges if corrections are made within 60 days. This aligns them better with their competitors at Kindle Direct Publishing. The revision fees were particularly egregious — one of the advantages of Print On Demand is the ability to correct and update when necessary, unlike long print runs, and IngramSpark were effectively penalising people for doing so.
Of course, what one hand giveth, the other hand taketh away — a new ‘Global Distribution Fee’ has been added:
Effective July 1, 2023, a market access fee will be charged for every print book sold through Ingram’s Global Distribution network, reaching 40,000+ bookstores, retailers, libraries, and schools. The fee will be 1% of the list price of the title sold. For example, if your book has a US list price of $20.00, the market access fee will be $0.20 cents.
Value of Book Cover Design
Author services site Reedsy conduct a semi-scientific test into the relative marketing merits of a better designed cover. The signal seems pretty clear, though one would want to make such tests on a much larger scale to fully quantify the effectiveness. But of course there is a reason mainstream publishers invest a lot of effort into eye-catching genre-appropriate cover designs — it very much works, and catches the segment of the buying public interested in that specific kind of title.