Note: This post contains some excerpts from the infamous book 5 of my Publishing Gold Series, the one that can’t be published on Amazon. I’m offering a special price on that book since you have to go to Smashwords to get it. Use coupon code: QN34K  and you’ll get it for 99 cents. Coupon is available through June of 2017.

In the Practical Guide to Publishing, I talk about hiring professionals. Let’s specifically talk about editors.

Working with indie authors, I’ve worked with a number of different editors and they are mostly terrible at the job. There is nothing more disheartening than having to edit a book that an author has just spend thousands of dollars having edited “professionally.”

How did this happen?

Set Clear Expectations

Be very clear with the editor up front. Let them know what you expect and when you expect to have it done. I’ve also learned from others that it is best to schedule updates so that you can check on progress.

Spell out exactly what you want the person to do and when you expect to have it done.

Ask for Referrals

Talk with other clients or read reviews their clients have posted. If at all possible, connect up with a real person who has used this person’s services. LinkedIn is wonderful for checking references. Just as people will find you from your web presence and that carefully maintained brand you have created, you should be able to find out about this professional’s quality of work.

A referral from their aunt is not the type of referral you want. You want to talk to someone who has used their services.

Hire a Real Editor

If you were traditionally published, you would likely have several editors working for you. Let’s face it: there is a quality difference that shows when you have a team of professionals working on a project!

As an independent author, you’ll start out doing most of your editing yourself. I have a friend who works with traditionally published authors simply checking the facts in their books. Until you become successful, you will have to check your own facts! You may have to find your own typos, too. (By the way: it is almost impossible to find your own typos. Hiring an editor should be one of your highest priorities.)

[A joke I can’t resist mentioning: while reviewing this post, I found a typo that had made it through numerous spell checks and multiple passes by my editor. There is always at least one that gets through! And yes, I did stop everything and fix it! That’s a blessing of being an independent author!]

The first contractor you should hire is an editor.

Hire Someone Who Believes in You

Be careful if you find yourself working with someone who treats you like you are “not a professional.” My experiences with this type of individual have always ended in disaster. The quality of their work was substandard. Was it because they thought my indie publishing work didn’t matter? I don’t know. Was it that their snobbery was masking their own lack of professionalism? Possibly. If the contractor you choose is not going to treat you with respect, hire someone else.

Your editor can become a key to your process, someone who not only makes your work sparkle, but also helps you stay productive. Once you know that editor has your back, you can work with more confidence. Your editor is an invaluable part of your team.

One word of warning: I’ve noticed a few traditionally published authors are working as editors for indie authors to make extra money on the side. Let’s face it, mid-list traditionally published authors do need to make money to supplement their income. But these are not the people you want editing your books.

Why? Many of them are productive authors. You’ve read their books. The writing is solid and the books are well edited. Why wouldn’t you want that person to do your editing?

Because traditionally published authors have editors to edit their work. The books you’ve read are as well written and edited as they are not because the author is a good editor, but because the editor who edited them is a good editor!

I recently read a post bashing indie authors written by a traditionally published author who does this sort of work on the side. After reading her article (which I do not want new indie authors to have to suffer through), I finally understand why my indies have found such terrible editors.

The author of the post saw indies as hopeless. She edited them with disdain. I am certain that even if she is an excellent editor, she did not do good work for her indie clients.

Editing and writing are different skills.

Pay for Quality

A good editor is going to cost you money. Your book will earn more money if it is well edited. Just as a professional cover will help sales, a professional edit (or three) will encourage your readers to recommend your book.

Starting out, you may not have the money to afford a high quality editor. Raise money. Save money. Barter. Use GoFundMe.

A good editor is worth every penny.

Prerequisite: Publishing 99. If you haven’t done those things, you don’t belong here. You aren’t ready to be published yet—regardless of method.

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In college creative writing classes, I learned how to get published. The steps were deceptively simple:

1. Write a good book.
2. Get an agent.
3. Get a publisher.

No one ever promised I’d make money, and I didn’t expect to. What they didn’t predict (or teach us how to handle!) was the industry-rocking industrial revolution that would change publishing forever. I remember the first time I published a story on the Internet (actually an intranet at the time). Something clicked in the back of my mind: This changes everything.

I wish I’d listened to that little thought and not spent the next 20 years continuing to follow those steps.

I’d like to offer a new approach to publication, based on the options available today, in the hopes of helping authors navigate the publishing maze.

Start by defining success.

Writing is a business, and it requires more thought than setting up a lemonade stand.

Writing isn’t magic.

It’s a craft. You need to learn it, hone it, polish it. You may have a gift for storytelling, but if you can’t use the language—your brush—you can’t paint the word pictures to bring the story to life. Problems with grammar, punctuation, spelling? There are good editors in the world: use them. Is your story losing cohesion? There are writing classes: take them. Learn your craft and practice it. The Bible has already been written: God’s next literary effort will not be to dictate your best-seller. You’re going to have to sit down and work. Resources are available—affordable, even!—to take basic writing talent to greatness. Use them. Become the best writer you can be, and then keep growing.

Writing begins and ends with readers.

Writing is about the story and how readers engage with it. Readers buy books—not agents, not publishers. Word of mouth sells books. This is not new. If you can get readers talking, you’ll have a shot at making it in this industry. It’s writers who took large bonuses from traditional publishers and failed to follow up with promotion and the next book who have injured the traditional publication market. They’ve made publishers wary, afraid to take risks. Publishers and agents want to find the next best seller. They want you to be that power-commodity, but don’t expect them to snatch you up based on a typo-laden query. They no longer have the time or money to throw away on anything less than pure gold.

Connect with your readers—and stay connected.

Build a social platform and a website to centralize your fan base. We’ve all heard readers frustrated by writers who don’t stay in touch. “Do you know when ____’s next book is coming out? I can’t wait.” That’s a sale. And if that reader can’t find out when your next book comes out, that’s a sale lost. You set up this ability to communicate with your readers before you publish. Call it author branding. Call it a mailing list. Or just call it good business sense. But it needs to be uniquely yours, a place where readers know they can find you. Would you set up your writing office in a stranger’s house? Why not? Because it’s your business. You want to have control over the rules, the schedule, and the product. Trad, indie, or lone wolf—all publication routes require you to connect with readers. End of discussion.

The industry isn’t going to stop changing.

This is our modern world. Things change. Fast. What works today may not work tomorrow. What works tomorrow may be the crazy idea you tossed away today. Be flexible. Don’t waste time arguing the superiority of one publication method over another. Write. While you’re at it, stop throwing money away on snake oil salesmen who promise instant, six-figure sales. Have money to spend? Perfect your craft. Connect with readers. Build your business.

A much needed thank you.

Writing without an editor is dangerous. I’ve been blessed to have Lori Brown-Patrick, also known as the Grammarwitch, as my editor on these blog posts. A good editor is invisible, but she shines a light in the dark corners of your work so you can see where it still needs a good scrubbing behind the ears.

There. I said it. Self-publishing is dead.

But before you all scream and throw fire balls at me, read on.

The publishing industry is changing. Dramatically. Daily. I’m not saying anything that everyone doesn’t already know. But I see a lot of folks trying to describe what is going on in terms of a model that worked 20 years ago. The vocabulary of publishing needs to change to match what the industry is doing now.

Self-pub·lish·ing: noun |sĕlf-′pŭb-lĭsh-ing

1. see vanity press.

An acquaintance of mine self-published a book about 20 years ago. He paid around $10,000 to have a bunch of books printed and placed in his garage. He had sent it to me for “editing” before it went to the printer and I was horrified. When I made suggestions, he explained that he didn’t need proof-reading because his non-native-English-speaking wife had already proofed it. She was smart, so clearly her edit was sufficient and my comments were just picky. So, I limited my comments to developmental edits. Again, he explained that the beta readers had all loved it. I surrendered and never worked with him again. I have seen it referred to online as one of the worst books ever written.

What he wanted was for me to tell him it was wonderful. That is vanity press.

He self-published. He did everything himself. He did have a “publisher” of sorts that helped him format his book so that it came close to the way it should look. The publisher didn’t read the book. They did no edits. I think they hired a kid to draw the cover—because it looked like a child’s drawing of an 80s video game.

I’m not sure whatever happened to all of the books. I know he sold less than 50.

That is self-publishing. That is vanity press. If you are still using a vanity press in today’s publishing world—stop. Self-publishing is dead.

tra·di·tion·al adjective trə–ˈdi-shən-əl

1. a way of thinking, behaving, or doing something that has been used in a particular group, family, society, etc., for a long time

Of course, by that definition, traditional publishing is dead as well, but work with me.

I see many articles that discuss self-publishing vs. traditional publishing. That is an over-simplified view of a field that is expanding and evolving. This isn’t a dark time for writers—it’s a renaissance!

Traditional publishing is not what it once was. There are five major publishers in the United States. Yes, they have a number of different imprints, but really, it is down to five solid traditional markets. There are hard-working agents who want nothing more than to take your book to the next level.

in·die noun |΄ĭn-dee|

1. an obscure form of rock publishing which you only learn about from someone slightly more hip than yourself.

Writers today have options that were not dreamed of 20 years ago. A modern book is a team effort—regardless of how it is published—if you are doing it right. Developmental editors, content editors, line editors, graphic designers, book design artists, agents, publishers, distributors, and even marketing professionals—to name just a smattering of available associates—all make up the tribe necessary to raise a book to maturity in today’s market. And modern writers have real, valuable distribution options regardless of how they publish—traditionally or independently.

There are indie publishers, small presses like the one I run, eager to help new authors. Writers can shepherd their own projects all the way from idea to publication without the help of a publisher at all. The spectrum from indie to traditional press is not cut-and-dried, and there are pitfalls and risks for writers in every colorful phase of that spectrum.

geek noun | geek

1. The people you pick on in high school and wind up working for as an adult

2. a carnival performer who performs sensationally morbid or disgusting acts, as biting off the head of a live chicken.

3. an enthusiast or expert especially in a technological field or activity <computer geek>

Who am I to be so bold as to say that I can tell writers how to succeed? Well, first of all, I’m generally a very quiet geek. I watch. I listen. I read. I work with the technology. I test. I play. But I also have friends who have succeeded in every form of publishing—and many who have not—and I watch and study what they have and have not done. Over the last few months, I’ve been slowly formulating my thoughts on what has made the difference.

Here are some of my conclusions:

Traditional publishing isn’t dead. It isn’t even sick.

Small publishers and indie presses are doing fabulous work.

Indie authors are thriving.

But self-publishing is dead.

Long live the indies!

note: definitions stolen or adapted from the Urban Dictionary, the online Webster’s Dictionary and Dictionary.com.

Sorry for the long silence on the blog, folks. Lots of exciting things happening and some revealing posts coming this week.

I want to introduce you to the newest author in Heart Ally’s line-up. I met Daniel Ottalini at a publishing conference. We were both a little overwhelmed by all of the folks at the first social, both a little shy — Daniel less so. He came and sat down next to me and we started chatting. I quickly came to respect and admire this young man. For many of the sessions, we sat together and talked about the industry. I may have said what I do, but I doubt it. I don’t advertise for new clients.

Daniel was doing great on his own. He had a book up for an award that year, another one just about to come out, and more in the works. At the final banquet, where he won the 2013 EPIC award for Brass Legionnaire, I was surprised to discover that he was looking for a publisher to take some of the mundane work off his hands so he could focus on writing.

That moment was like a school of sharks with raw meat thrown into the water. The publishers were circling, fighting over who would get him. I sat back and watched in horror.

And yes — this is me bragging.

We’d already exchanged contact information, so after the conference I sent him an email suggesting that he should check out what they had to offer and then review my program and if he was interested…email me. I already knew Daniel was a smart writer. Guess who he signed with?

For the last few months, we’ve been hard at work on Antioch Burns, a novella that takes place in his Steam Empire Chronicles.

It is my delight to introduce you to Daniel Ottalini.

HA: What made you decide to go indie?

DO: I’m an impatient person! Honestly, I wanted to be done when I was done, not wait around for submission letters to be reviewed. Also, with all the new ebook technology, I figured I should give it a try. I had heard horror stories about traditional publishers, but I also liked having the control that being an indie provides.

HA: Congratulations on winning the EPIC award for Brass Legionnaire. How did that feel?

DO: It was pretty amazing! My mom sorta spoiled it for me in that she called me on the first conference day to tell me a package from EPIC had showed up at the house (that’s something she does) but it was definitely a surprise and an honor.

HA: You knew the whole time and didn’t tell me! I noticed that there were publishers hovering after you won. Why did you decide to stay indie?

DO: Well….I suppose in the end I am a control freak. I like being in charge of things, and I really challenged the very nice editor who was looking to acquire BL & CC – Plus, as the novels are really my second income stream (and primary one during the summer since I’m a teacher), it would be hard for me to lose them while they went out to be ‘retrofitted’.

HA: Tell us more about your books and the themes you are focusing on. You have said that Brass Legionnaire was an inside joke — care to elaborate?

DO: It was an inside joke between my girlfriend and myself about how and what people from a merger of our two backgrounds would look like – her Brazilian and my Italian – Britalian, which lead me to think about Romans in modern times, which lead me to Brass Legionnaire. Not very coherent brain processes for me, but there you have it.

HA: Anything else you’d like to say?

Thanks so much for having me, and why aren’t you bragging that you signed me for Antioch Burns, a novella set in the world of the Steam Empire Chronicles?

HA: Thanks, Daniel. And thanks for your patience with me for delaying this interview — because I wanted to brag with product to sell!

Antioch Burns is out now — available from all major epub retailers at $1.99. Get it. Read it. Leave a review!

I’m inspired by the strength of New Yorkers recovering from Sandy. Poet Elise Skidmore considers herself fortunate: she only lost her roof — and she was able to get gas today! In her recently published book When Leaves Fall she wrote a poem honoring her native New York City. Share this to encourage the New Yorkers you know.

Whaddaya Want?

This is New York,
the Big Apple–
We got it all.
You could eat in a different place
every day for ten years
and never have the same thing twice–
and that’s not even counting the street vendors.
Gotta love those dirty water hot dogs,
smothered in mustard and kraut,
and the smell of roasted chestnuts
when the shows let out.
You want fancy,
we got fancy,
but nothing beats
pastrami piled high on rye at the Carnegie Deli
or Lindy’s New York Cheesecake.
So Whaddaya want?
We got it all.
But don’t forget your wallet–
This is New York, after all.

Note: Elise’s first book Poems from the Edge of Spring is a poetry finalist in the Epic Book Awards for 2013.

You can learn more about Elise’s writing and purchase her books here. Profits from the sales of her books will help repair her roof!

Here is my long-overdue interview with Alicia McCalla. Alicia has been a delight to work with and I was proud to publish her book, Breaking Free, in February 2012. She’s hard at work on the sequel as well as another novel that she’ll be self-publishing. I frequently use Alicia as an example of how to market. She’s out there making contacts and speaking her heart. Her passion drives her fiction and it shows. This woman simply can not write fast enough to satisfy the hunger of her fans!

HA: Why did you decide to indie publish? Why now?

AM: A little over a year ago, I attended a discussion at my local writer’s group that discussed the problems and concerns with traditional publishing. I listened to authors published by traditional publishers share some truly heart wrenching stories. That discussion along with learning how digital publishing has been changing the face of the industry led me to seriously consider indie-publishing. Last February, my dream became a reality when my debut novel, Breaking Free, became available in print and for immediate download. Exciting!

HA: You have a platform that motivates you, and led me to want to publish your book. Tell us about that.

AM: My platform in Fantasy, Futuristic, and Paranormal in color. It’s my goal to encourage FFP authors to desegregate their fictionalized worlds and add protagonists of color as well as content that relates to people of color. It’s a sensitive platform but very important in the 21^st century. If readers are interested in why I write my blog, they can visit my first blog post “Black People Don’t Read Science Fiction.”

HA: Your book is incredibly relevant to current events. You speak directly to the young people of today. My husband and I have had a debate over whether Trayvon’s death was racially motivated. I claim that it was not, but that the handling of the case by police was a horrific injustice that has hurt racial healing. I think of the many misunderstandings in your book. I’m curious about your opinions.

AM: The Trayvon Martin case was very sensitive to me. I’m not only an African-American but a mother of a teen Black male. Trayvon’s case rattled me. Stereotyping, racism, and weapons are dangerous. In our 21^st century minds, we think of lynching and segregation as a thing of the 19^th or 20^th century but the vestiges of that dying mindset still remain. I was so pleased when I put the call out to speculative fiction authors to participate in Trayvon 2.0: A Creative Science Fiction response towards racial healing, I received many short stories on my blog from writers of all races, backgrounds, and sentiments. I’d hoped that Trayvon 2.0 could be a creative outlet for people to heal. It’s been an amazing project.

HA: What do you do for a living?

AM: Um. I’m pretty boring LOL! I’m a school librarian. I spend my days encouraging students to read, research, and use technology. I do enjoy working as a librarian. It’s really quite fun. There’s always something really interesting going on in libraries. Wink!

HA: Do you think that affected your portrayal of the librarian in Breaking Free?

AM: Yes and No. I really just wanted to make a cool character who was evil with a capital “E.” I’m hoping that readers sit on the edge of their seats when they read the fight scene. It’s both physical and mental. It was a tough scene to write but I feel that I captured the full battle. Violence and triumph all in one.

HA: Can you tell us more about the story?

AM: Sure. XJ is a 17-year old genetically-enhanced girl who must save her mother from a mind swiping procedure. Breaking Free is the first book in the Genetic Revolution series. This series is intense and controversial. There are issues of race, class, gender as well as sexual identity crisis. Did I mention that there’s an interracial romance? This series chalked full of current issues. Teens will have lots to talk about after reading it.

HA: Would you indie publish again?

AM: Yes. I am publishing more books. Readers can visit: www.aliciamccalla.com to find out more about my upcoming books. Double Identity, the next book in XJ’s series will be available in February 2013. I’m so excited.