This book starts halfway through the ten-book Marc Edwards Mysteries series. I chose to read it first because it’s set in Upper Canada 1838, and I’m sliding into that time myself to do some historical research for a family history. Published in 2013 by Touchstone, the series is written by poet, author, and Western University professor emeritus, Don Gutteridge.
The story is set at a key historic moment when two Canadas are struggling for power: predominantly French Lower Canada (Quebec) and very British Upper Canada (Ontario). Rebellions have disturbed the peace in both.
A Little Political Background
Louis-Joseph Papineau, a French-Canadian reformer born in Montreal, led the rebel Patriotes in a rebellion in November 1837. They opposed the power of the Catholic Church, the British Governor, and his advisors, the Chateau Clique. After the Patriotes were defeated, many French-Canadian settlements were burned to the ground, and Papineau fled into exile in the United States. Fleeing to the USA is a popular theme especially in the old days when borders were a little less guarded.
The following month, a Scottish newspaper publisher, William Lyon Mackenzie, and his radical followers attempted to seize control of the government in Upper Canada and declare the colony a republic. As in Lower Canada, an elite clique of pro-British businessmen called the Family Compact, ran the colony through a system of patronage. The rebels wanted democracy. Many of them were American farmers who’d moved north following the War of 1812. For four days, Mackenzie and his rebels gathered at Montgomery’s Tavern, then they marched south on Toronto’s Yonge Street. Guns were fired. Confusion ensued, and they dispersed. Perhaps spending four days convening in a tavern was not the wisest plan? Mackenzie and his group eventually fled to the United States where they joined with American rebels and wreaked havoc along the border.
By the following summer, Britain still ruled from across the sea, the cliques still ran both Canadas—one French, one English—and problems still hung in the air.
What About These Bloody Relations?
Enter Lord Durham. John George Lambton Durham was made governor general to both Upper and Lower Canada, and sent abroad to sort things out and write a report. The earl was nicknamed “Radical Jack” because he swayed to the liberal side of the Whig party. In the end, Durham recommended union of the Canadas, assimilation of French Canadians, and the introduction of responsible government—an elected assembly responsible to the people, rather than a top-down monarchy. The real Lord Durham was a somewhat sickly character. Gutteridge says: “Lord and Lady Durham did visit Toronto for a day and a half in July 1838, their stay cut short by the earl’s suffering a recurrence of his migraine and neuralgia.”
http://uppercanadahistory.ca
It’s during Lord Durham’s visit to Toronto in July 1838 that Bloody Relations takes place. I mention the political background because it is important to the plot of the story and Durham’s report changed Canada forever.
As I said, this is a murder mystery, so early on a sort of “locked-room murder” occurs in a brothel in Irishtown. Lord Durham’s shy, inebriated, nephew, Handford Ellice, is discovered snuggled in bed beside poor dead Sarah McConkey. He’s still unconscious, though she’s been stabbed through the neck. And, he’s holding the knife in his hand. Madame Renee had barred the outside door after Ellice was admitted and then gone off to bed along with the three other women who worked for her. So, inside the locked brothel are three prostitutes, the madame, and Ellice. The key questions? Who done it? And why are there no blood trails if it wasn’t Ellice?
While on patrol, Constable Horatio Cobb is called to the bloody murder scene by one of the distraught prostitutes. When he realizes who the alleged perpetrator is related to, he suggests that Marc Edwards handle the rather sensitive investigation. Marc and his wife, Beth, have just been to a soiree the previous evening with Lord and Lady Durham and met Ellice; in fact, Beth danced with the shy Ellice and befriended him. Now, he’s accused of murder and the Edwards are determined to get to the truth. Edwards feel that Ellice may have been set up to derail Lord Durham’s task.
It’s a brilliant set-up for a murder mystery and Gutteridge’s literary prose, combined with his poetic prowess and believable dialogue, brings the characters to life. The settings are vivid, especially Irishtown:
“The area was essentially a squatter’s haven. Its three dozen dwellings were ramshackle affairs at best: half-log shanties, clapboard hovels, temporary lean-tos confected out of the handiest scraps and flotsam of the town they appended, as welcome as a carbuncle on a buttock” (31).
I grew up just east of Toronto and worked downtown during my late teens so am familiar with many of the streets and locations: Yonge, Bay, Queen, College Park, Osgoode Hall. And I remember being threatened with ending up on Jarvis Street, the domain of prostitutes, if I didn’t mend my ways.
Murdoch Mysteries is set in Toronto fifty years later, but fans of the constabulary would enjoy the Marc Edwards Mysteries. There’s a similarity in the type of murders, the characters themselves, their speech, and behaviour.
My Research
I hadn’t thought about the effect of politics on my characters until reading this novel. Now, I’m left wondering what it would be like for a common French carpenter and his Irish wife and children to live in Cobourg, a small harbour town in Northumberland County, just east of Toronto, in these Tory-dominated days.
1830s Cobourg
What were their political leanings? Did they support the radicals? Perhaps, want to join the throng of three thousand who came to Queen’s Wharf to meet Lord and Lady Durham’s steamer? After all, Antoine Fusee had married his fourteen-year-old bride (Louisa McNally) in Montreal only three years prior (1835). Or would they keep quiet and submit to Tory rule? Were they merely concerned with subsistence and survival? Was it even safe to be French in Upper Canada?
As for the Marc Edwards Mysteries, I think I must read them all. Don Gutteridge is a find.
Don Gutteridge, Professor Emeritus, University of Western Ontario
The subtitle of Elements of Indigenous Style is A Guide for Writing By and About Indigenous Peoples. I read this book to learn what is appropriate and what is not, as the two fiction books I’m now writing include references to Indigenous Peoples and are set on Indigenous territory. After reading, I made revisions to my manuscript. Younging wrote this edition in 2018, so it may already need updating as, in Canada especially, much is changing rapidly with regard to how Indigenous and non-Indigenous people work together. I highly recommend this book to writers, editors, students, and anyone interested in reconciliation; in fact, we all should read it because we are in relationship with Indigenous People and need to be much more aware. I’m not re-writing the book here, just providing a sampling and speaking to a few key points.
Naming
Merging the name of his Cree mother (Young) and his Chinese father (Ing), Younging forged his own identity. I appreciate this, as I created my own name, Hawkin. It means “kin of hawks” and expressed my need for freedom following my divorce. I was neither my father’s daughter nor my ex-husband’s wife, but was searching for self. I identified strongly with the hawks who lived nearby in Ontario and still identify with birds of prey.
About Gregory Younging
Younging died in May 2019 at the age of fifty-eight, and was posthumously awarded the Association of Canadian Publishers President’s Award. You can read more about his achievements here. He was a member of the Opaskwayak Cree Nation in northern Manitoba, and managing editor/publisher of Theytus Books in Penticton, British Columbia, for many years. Theytus Books was the first Indigenous-owned publishing house in Canada and continues to publish Indigenous authors. Gregory Younging also taught at UBC Okanagan and served as assistant director of research to the Truth and Reconciliation Commission of Canada.
As I said, I learned much from this book. He includes appendixes, case studies, and twenty-two principles of style. Here are a few key points to consider that struck me.
Characteristics of Contemporary Indigenous Literature
Contemporary Indigenous Literature gives authority to all voices rather than one; as well as the voices of animals, and messages given by spirits and natural phenomenon; and it crosses circular time—ancient past, present, future. These characteristics come from the work of Anishinaabe author, Kim Blaeser (13).
Protocols for working in Collaboration
Non-Indigenous authors, or, Indigenous authors writing about a nation that is not their own, should enter into a relationship with that source nation, get permission, and negotiate mutually agreeable terms. Younging stresses collaboration and the need to always ask in an appropriate way. For example, when I studied at Trent University, the Protocol was to respectfully offer tobacco to an Elder or Teacher if you wanted to ask a question. If the person accepted it, they could help, and you had permission to engage. Younging writes that the Protocol is still to ask respectfully and offer a gift, but tobacco might not be the right gift. You need to find out what’s appropriate by asking around the community or asking the Elder. Then listen. Finally, give them the right to read your text before publication.
Awareness of Sources
I appreciate the chapter on terminology because much of this has changed since I studied in the nineties. Also, in some classes, we used texts written by archaeologists or anthropologists who viewed Indigenous Peoples as static cultures of a distant past. That is not the case. Indigenous Cultures are resilient, adaptive, dynamic, and distinct. If you use content published by anthropologists or historians be aware that the author likely did not follow Protocols, and translations often use stereotypical language and concepts. For example, the anthropological theory that Indigenous Peoples migrated across the Bering Strait to North America is not part of The Oral Traditions of The People.
Terminology to use and not to use
A few words to be wary of using are artifact, band (use the People), clan (unless it’s a particular Clan System, pagan/heathen, land claim (use Indigenous title), legends/myths/tales (use Oral Traditions), self-government (use self-determination). Aboriginal is an adjective only and is being replaced by Indigenous.
Many words in our everyday vocabulary are of Indigenous origin, though we assume they’re English. Here’s a partial list: canoe, hammock, igloo, kayak, potato, raccoon, skunk, squash, tomato. Also many place names have Indigenous origin including the provinces of Manitoba and Saskatchewan. Alternatively, explorers and settlers renamed places after themselves or their foreign sovereign (investor) in many cases as a means of claiming territory for the colonizing country.
First Nations, Inuit, and Métis
In Canada, the government recognizes “First Nations, Inuit, and Métis.” First Nations is a political term that refers to someone from a First Nation. Inuit means “The People” and refers to The People who live in the Arctic. Métis is both a noun (she is Métis) and adjective (Métis heritage). The term Métis is complex as it has three possible meanings.
1) Métis means “mixed race” in French and refers to those who were involved in the Red River Resistance and their descendents. They may speak French, English, and/or Michif. Note it’s termed the Red River Resistance, not rebellion.
2) Someone may identify as Metis (without accent) if they are English-speaking people of mixed Indigenous and non-Indigenous ancestry. For example, my great grandfather’s father was Dutch and his mother was Tuscarora (a nation who moved north and were adopted into the Haudenosaunee).
3) Métis (with accent) can also be used by those who do not descend from Red River.
Use of Traditional Names
Use Traditional Names that The People use to refer to their distinct nation—Anishinaabe, Haudenosaunee, Nuu’chah’nulth, Mi’Kmaq, Gitxsan, and so on. Younging writes: “Names are part of the way we render identity” (91). Be particular and precise. Many of us acknowledge the name of the Traditional Territory on which we’ve settled and use it in our email signature: Settled on unceded Stó:lō territory—Ts’elxwéyeqw (Chilliwack) and Se:máth (Sumas) tribes
Capitalization
Indigenous style uses capital letters where non-Indigenous writers/editors may not—Survivor, Chief, Clan, Elder, Indigenous Voice, the Longhouse as an institution, Midewiwin, Oral Tradition, Seven Fires, Sundance, Sweat Lodge, Vision Quest, Warrior Society, Wampum Belt, Traditional Knowledge. I see this as a positive way of showing honour and respect.
Possession
The Dispossessed: Life and Death in Native Canada by Geoffrey York was one of the first books I read, and it’s always stuck with me. York was a journalist with the Globe and Mail in Toronto. He wrote about the legacy of abuses from land grabs, to diseases, to residential schools, to reserve land that afforded The People little to nothing. They were dispossessed of their land and culture. They are now reclaiming, so when you’re writing, it’s important not to imply Indigenous Peoples are “owned” or “possessed” by Euro-colonial states. They are not Canada’s Indigenous Peoples. Also, use present tense rather than past. The Nuu’chah’nulth potlatch or hold potlatches, not the Nuu’chah’nulth held potlatches.
Younging’s guide is political. It’s complex and much to absorb. As a former high school English teacher, I suggest this book be used in humanities classes. Younging has titled this book with an obvious poke at Elements of Style, an American English writing style guide written by William Strunk Jr. in 1918, that’s still used by high school and university students. It’s time to change it up and expand our awareness of how language informs thought and thought informs language, as both inform culture and cultural prejudices. Even those of a subtle kind.
I really love doing interviews. Most interviewers ask slightly different questions and each question teaches me more about myself. There are horses and canines in almost all my books. This is why.
In this latest written interview we delved more into my childhood and how I ended up writing novels. I also discuss my new catch-phrase “myth, magic, and mayhem.”
Interviewers ask so many interesting questions, some that really make you think. Sometimes it takes me days to think about the question and craft a decent, honest answer. I particularly hate anything about “favourites” — what is your favourite . . . ? Who can have just one?
Jean the Book Nerd opened doors into my mind where I had to ramble and reminisce. These were all valid and pertinent questions. Not all interviewers ask such questions.
In “Writing Behind the Scenes” I talk about my creative process and venture into mystical territory that I haven’t revealed before. I hope you enjoy the interview. Please leave a comment or question that doesn’t ask about favourites!
Our Publishing Panel is gathering Wednesday May 26 for the East End Writers – 20th Anniversary Celebration. You can access it here through Facebook. The event runs from 4-6pm PST and our panel comes up for the last half hour.
After my Lulu foray — which I honestly consider a mistake because I was all exuberance and no strategy — I re-edited To Charm a Killer, and republished it in 2016. I’d retired from public school teaching that year and “came out” as an author using my own name: W. L. Hawkin (Wendy Louise.) This made me feel a little more like a “real” author.
This time, I purchased the services of Shane Joseph at Blue Denim Press as I knew Shane, slightly. We met, discussed my project, and agreed on a contract. Shane offers “assistance in preparing manuscripts for submission to other publishers or for self-publishing.” His business also offers: manuscript evaluation, substantive editing, copy editing, formatting for production, and proofreading. I hired Shane specifically to format my manuscript for print and ebook. This meant, he had to create three separate and distinct files: a pdf for print, a mobi for Kindle, and an epub for all the other platforms (Kobo, Apple, Barnes & Noble, etc). Shane graciously introduced me to his style of publishing and gave me lots of information. For example, when the zip file came back containing my cover, mobi file, and inside images, all I had to do was upload it on Amazon and it magically appeared as an ebook right before my eyes.
Shane asked me for input and then gave me a choice of covers, and I must say, this cover is still one of my favourites! He formatted my print book and sent me all the different files with instructions as to how to upload to IngramSpark book distributors for (print and epub). IngramSpark charges fees to upload to their site ($49US for print or for print and ebook or $25US for just an ebook; however they frequently run free promotions so, if you can time it right, you can avoid the set-up fees. I still use IngramSpark to print and distribute my paperbacks, but I now use Draft2Digital for epubs (Kobo, Apple, Barnes & Nobles, etc.) Draft2Digital are incredibly author-friendly. You can upload your manuscript and try out their different themes; actually see them and digitally leaf through the book. You upload for free and they take their cut when the book sells.
Tip: If you’re planning to mail your print book, make sure the finished wrapped copy will fit through the letter slot at the post office. The book Shane produced was beautiful but did not fit and cost $15 to mail. This is not cost effective ($20 for book + $15 for postage = too much to ask.) When I revised it to fit with my trilogy in 2018, I used a slightly smaller font and made sure it fit through the slot. My books now cost $5.50 to mail in Canada.
Going it Independently
In 2018, I completed the sequel, To Sleep with Stones. I am comfortable with technology and had spent years writing and formatting newsletters and desktop publishing, so felt confident that I could do what Shane had done. And I mostly could; though I probably went a little greyer around that time.
I used Shane’s original Word file as a prototype to format my book using Word. I now know many Indie authors and many of them are still reluctant to take on Word. Honestly, it can drive you insane! However, I’ve recovered sufficiently and formatted enough books now to feel comfortable offering my own formatting service. To be specific, when you format a book for print on Word, you set up EVERYTHING from a blank document: headers, footers, page numbering, page breaks, front and back material, images, and it all has to look PERFECT on the page — at least for me. I will confess that a few times I’ve discovered one line dangling at the end of a chapter and actually gone back through the chapter and changed the wording to make that dangler fit on the preceding page. This depth of formatting requires hours and hours of intense left-brained concentration and perfectionism. There are other ways:
Tip: Many Indies I know recommend using Vellum. As they say on their site: “Everything for Print. No setup required. You’ll have a book that looks like it took days to create . . . in minutes.” For that you’ll pay $249.99 US for unlimited ebooks and paperbacks. The price is a drawback, but if you write and Indie publish many books, this can be a good investment. You only pay once and when you need to change a type-o, you only change it once. On Word, I have three files to fix when I find a tiny error. Several platforms will create your print book from your ebook including Draft2Digital and KDP (Amazon). Do your research and price them out. Then do what you feel most comfortable with.
Right about now, you might be asking: why does this mad woman continue to use Word when there are alternatives? Three reasons. One, my files are all on Word now. Two: I feel proficient in using it now. And three: I have more control over THE LOOK. For example, I found a jazzy Celtic font that suited To Sleep with Stones. I used it for the inside cover and chapter heads and my cover designer used it as well, so everything matched beautifully. I also cut and pasted Celtic knots for scene breaks in this book. Here’s the cover for my second stand-alone in sequence. I still like the detail in this cover and it suited Dylan McBride, who was the featured witch in this story. And check out the cloud face in the top right corner that happened by accident. There is an evil vampire in this story too and there he is!
At this point, I was using beta readers, joining organizations, learning the craft, going to conferences, and giving live readings. One of the beta readers reported that my character, Michael Stryker, had made a stupid mistake in To Sleep with Stones. I thought, Yes, she’s right. He did. At that point, I could change it, or leave it in, and see what happens. I decided to leave it in and the third book bounced off Michael’s stupid mistake!
Tip: Get experienced eyes on your draft. Find beta readers to give you feedback, join a critique group, and employ a developmental editor if you can afford it. Listen to what they have to say. Try not to inflict your drafts on your family and friends. They can’t really be honest and what you need is honest feedback.
My stories all follow in sequence and I rely on the characters to tell me what happens. I also do not outline or plan. I write the whole story intuitively by listening and watching what the characters show and tell me. I did things a little differently with my third book, To Render a Raven. I hired a developmental editor to read my final draft and comment. She really helped me create an amazing book and I’ve hired her twice since then.
By 2018, I had completed book three, To Render a Raven, and I had a trilogy to publish. I worked with another cover artist to create trilogy covers because who doesn’t love matching covers?
Now, you might be wondering if I ever tried to get my books picked up by an agent or editor and published traditionally at any point after that first conference. I did. Through conversations, again at the SiWC, I was told that no one wants to acquire a book that’s already been self-published unless it’s sold thousands of copies and is a major hit. And, more importantly, no one wants to pick up a series that’s already had one or two books published.
Tip: If you’re planning to write a series and want to traditionally publish, hold off on self-publishing. Really try and find an agent or editor. If you Indie published your first book and want to write more in that series, you must finish it first, and then query with a brand new book unrelated to your series. You should have a solid platform at that point with a website and social media links and that will help in your queries.
I suppose you could put your Indie published series on hold, query with a new book, and rework your old series later on, but what about your series fans? And how do you tell your characters they can’t come out and play?
I’ve written four so far in this series and I’m open to writing a fifth. In December, I worked with a graphic artist to design The Tattoo Editions. Every cover features the tattoo of a character in the book. I reformatted all of the books to match (yes I am a little mad) and recently released them. And I’ve learned so much during the last few years. The Internet can answer all your questions but you can also become mired in the sheer amount of information available regarding Indie Publishers. Be kind and forgiving with yourself and follow your passions.
Meanwhile, I’ve completed something new: a contemporary small town romance. I’m currently shopping for a home for it by querying agents. Being a hybrid author — someone who combines both Indie publishing and traditional publishing — is acceptable now. While I wait, I’m writing the draft of another novel. Having several projects at different stages and wearing many hats is what writing and publishing requires today.
Again, if you have any questions please ask in the comments and I’ll do my best to point you in the right direction. There may be a part 3 to this post after the panel on Wednesday!
The topic of Self or Independent Publishing has been coming up frequently for me lately. In fact, I’m sitting on a panel for Toronto’s East End Writers Group on May 26. They’re celebrating their 20th Anniversary and invited me to participate as an Indie author, something I consider quite an honour. That invite got me thinking about my own journey. I’ve been publishing my books independently since 2010, although not seriously until 2016. I’ve learned everything by trial and error and hope to share some of that with you.
Let me start by saying two things. One, I’m a Canadian author and this post will reflect that. I don’t know how things work in other parts of the world for Indie authors. Two, I don’t like the term “self published” because there is still a stigma attached to it. Some people assume your work can’t be good because you can’t find someone to publish it. This might be true, but it’s not always the case. Often, editing is an issue. If you can’t afford a good editor at least use a software program like Pro-Writing Aid to flag your errors. I hire a developmental editor but do the final line edits myself using Moira, my Irish text-speech woman. As I listen to Moira read out loud, I read along and make corrections. Then, I create a mobi file and read the whole book on my Kindle stopping to note errors in longhand. If you continually read the same draft on your computer, your brain just glosses over the error time and time again. Please do not publish a book with grammatical and typing errors. This is how self-publishing got a bad name to begin with. Having said that, I read many traditionally published books which have been through editors and still have small errors. So don’t feel bad if you miss something here or there. If you’re self-publishing you can go back and fix those errors.
Though I’m using both terms in this post, I prefer the term Indie publish as it has more panache and a tad more clout. Here are a few pluses and minuses to Indie publishing:
-Some awards and contests are only open to traditionally published authors which feels discriminatory to me. “We’re all the same but we’re different?” +There are separate awards now for Independent Publishers such as Whistler Independent Book Awards and Independent Publisher Book Awards. You, as the author/publisher, will pay fees to enter but I think it’s worthwhile, especially if you win.
-Most grants are inaccessible to Indie authors. For example, Canada Council Art grants are only awarded to publishers who pay royalties and publish four trade books per year. Canada Book Fund grants go to publishers who are financially viable. So if you’re looking to make a living as a self-published author you might need to expand your thinking and your business. +If you join the Writers Union of Canada, you may be able to apply for provincial grants and find other ways to boost your income.
-I hear from many authors that they HATE marketing. Know this: if you publish with a traditional publisher you are expected to market your book, but as an Indie publisher you MUST market your book all on your own. Creative brain, Editing/Formatting Brain, and Marketing Brain all work differently. To be a successful Indie author you need to be an administrator and entrepreneur as well as an artist.
The bottom line: if you have a good book and you want to get it out in print, sell to family, friends, and the occasional stranger, self-publishing is an easy enough process and can be quite rewarding. Book publishing is a gamble no matter what you do and who knows? Your book might be THE ONE that suddenly takes off!
I embarked on my Indie publishing journey with an Irish-Canadian urban fantasy novel looking as green as a shamrock. Over the years, I’ve learned a few things that might help you get started.
Getting Started
When writing fiction, there are a couple of ways to decide WHAT to write. One, target specific agents and publishers and write what THEY want so you can query them later and try to sell them your finished work, knowing that what you wrote is on their wish list. Two, write what YOU want and look for a home for your finished book later. As an intuitive writer, rather than a logical thinking writer, I chose the second route. Well, I didn’t really choose it. I was teaching full time and just wanted to escape and play with my characters. I never thought I’d write a series or become serious about being an author, although once I embarked on this journey, I did want to see my book in print.
During the initial stages of drafting, I presented to a New York agent at the Surrey International Writers Conference (SiWC) — which is by far the best writing conference around — and she said my idea was too predictable.
Tip: Go to conferences. Learn the craft. Sit down with agents and publishers. Ask questions. Practice and pitch and listen to what they have to say. Don’t get defensive or disregard. They’re not always right but often are as they know what’s selling. Mull their advice, and then do what feels right for you.
I went home, created a Wicca coven to cloak my too-predictable killer and interwove the two stories. I obviously did it well because I often hear in my reviews that readers couldn’t decide who the killer was. I called the book To Charm a Killer and when it was finished, I sent it to a few publishers. I had interest from one but then he disappeared — people seem to move around in the publishing world — and I got a handful of rejections. Since I write cross-genre (urban fantasy/murder mystery/thriller) this is not surprising. Agents and editors want something they can fit neatly into their marketing schemes so it will sell. Agencies even have drop-down menus where you only get to tick one genre!
Tip: A handful of agents and publishers is not enough to query. You need to be rejected by tens and hundreds to join the Rejected Authors Club. You’ll be in good company there along with Madeline L’Engle, J.K. Rowling, Richard Adams, Alex Haley, James Patterson, Agatha Christie, and William Golding to name a few rejected greats.
To make matters worse, I was writing under an unpronounceable pen name — Charra Rede — because I was still teaching high school and didn’t want my students or their parents to know their English teacher wrote sexy books.
“I’m writing a book.”
“Oh yeah. What’s it called?”
“I can’t tell you.”
This is not a good marketing strategy. Still, I was excited and dying to get that book into print—even though I was only telling trusted friends. I decided to publish it myself.
Tip: When you publish be ready to hold up that book and smile for the cameras! So much work goes into writing a book you want to be proud of it and ready to “come out” fully as an author. Pen names are fine. Just be willing to go out and market your work under that name.
Print-On-Demand (POD)
Some people are happy to self-publish their ebook and upload to the major sites. Personally, I like reading print books so I also create and sell them. There are platforms who will produce your print book for a price: Lulu Press, BookBaby, Amazon’s KDP Print, and Draft2Digital Print are the main print-on-demand (POD) players. You send them your completed manuscript, front and back matter, and cover art. They manufacture your book and you buy POD copies from them which you can sign and sell. Some also offer distribution.
Tip: Do your research. Read what each one offers and demands in compensation. Compare prices and percentages. Read reviews.
First Edition
In 2010, I published To Charm a Killer by Charra Rede via lulu.com. An artist friend created the cover art which is quite striking. I did the writing and editing myself. Lulu did everything else. It cost me $600-$700 and I sold a few copies to friends. You’ll still see this cover on Goodreads and Amazon because they refuse to take down old books. There are even some great reviews! This route might work well for you.
I just costed out this same book on Lulu’s print rates for paperback and it’s around $7.65/copy US which is about par. If they’re doing all the preliminary set-up you’re going to pay fees on top of that. Be mindful, not to get taken advantage of by what we call “vanity presses” who charge several thousand dollars. Here is a great article that explains the difference between companies who help you publish and vanity presses.
In part two of his post, I’ll talk about other roads to Indie Publishing and what I do now. Please add your questions to the comments and I’ll do my best to answer them.
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