Well back to discussing how I write, and we’re to the end – the publishing part. Simple, right? Not really.
Publishing could almost be multiple posts but I don’t want to bore people in the wrong way. So before I cover the parts, lets cut to the point here – publishing your book after the writing, after the editing, is something not everyone can do on your own. You’re going to need help somewhere unless you’ve got the right experience.
Even after plenty of practice, I don’t have all the skillsets.
About half my covers are done by other people. This is because, beyond my basic business books, the style I’m capable of (Genially Boring Professional) doesn’t work. In fact, I’m probably going to do enhanced editions of some books I have done covers for at some point. Because yeah, I could do better, and I’m sure you can think of which ones.
So first, I ask if I can do a cover on my own, in my style.
Let’s say the answer is yes. This is almost inevitably the case for my smaller business books and ebooks. In this case, I’ve got some basic approaches to covers I’ve used over the years that are pretty successful. In fact I grab the latest cover and mostly repurpose it for my next book.
In some cases I’ll want art. I try to avoid public domain and any art where the ownership is at all a problem, out of ethics and a desire not to have issues. For new art I got to www.canstockphoto.com which has great deals. I’ve seen other self-publishers use it, which both speaks to its stock, and warns you to make sure you search Amazon for any similar covers.
Once it’s done I take the cover and run it by some friends and writer’s groups and the like, see what people think, modify it, and done. Again this is often ebooks.
Now if the cover needs to be custom art . . .
In this case I tap the artists I know. Usually that means Richelle Rueda as of late, and she, like any, is a person I fan-sourced – meeting people via fandom connections. Meeting someone that way lets you see them in a more artistic, playful, personal element and you get a better feel for who they are and what they do. And yes, consider that a reference for Richelle.
I always pay artists. Exposure is bullshit payment in many cases, so hand them cash or trade in kind unless they offer. Art takes a long time.
I actually have the skills to format the cover, do the back, etc. You can probably develop those skills, but don’t be afraid to outsource that as well. Like, say, to the artist you just paid . . .
Formatting the book for publishing is something I do on my own – because it saves time, because it’s a good skill to have. I learned formatting the hard way – by doing it and having to waste money on failed prints and times on failed e-books. After a few tries I’m not only better, but it’s one more thing I can do myself
Formatting for me has two paths.
First is general formatting. I go through and make sure that the titles are properly done, that the bullet points are in place, and that the page breaks are right. This is stuff that’s relevant to doing the book right no matter what the format. Its surprising how many mistakes can get made – once I had inconsistent titling capitalization on a 300 page book – and I didn’t find that until the printed drafts. I often roll this formatting into read-throughts.
Now it gets interesting. When I’m very (very) sure the book is in good shape I split it into print and ebook (if there’s both)
First is a document formatted for print. This can be pretty challenging as I have to format it so pages break, pages face the proper sides, paragraphs split (or don’t split), and so on. It’s amazing how having to make a document physical affects how you perceive it. Also if you don’t get this right you spend a lot of time reprinting the damn book.
Secondly is a document formatted for e-publishing. I use Jutoh, which is good for all formats – but recently I’ve gone Kindle exclusive. Kindle kinda won the e-pub war and I surrendered, but I still use Jutoh because it’s a damn good tool.
Formatting an electronic document is way different because you face:
I split the books, and then edit one at a time – but I keep them both available because, while formatting, I often find errors. I then correct it in both documents and often the original documents, because I’m anal retentive as hell.
It used to be worse when I did Kindle, ePub, and PDF as I’d have to keep one doc for physical, one doc that became Kindle and ePub, and one for PDF. It was bad enough I think I repressed it.
So the formatting phase becomes pretty extensive as I basically split the books, then format the physical (and add changes to the other doc), then format the electronic document – and sometimes feed changes back to the previous. It turns into a nasty little oroborous of problems at times.
Finally, I give the physical doc a good look through. Then it’s on to pre-publishing this stuff . . .
I go through CreateSpace for physical books now, and Create Space, much like Lulu, lets you set up a book and publish it – without making it available. You can send yourself a copy for approval. Which, I assure you, you’ll want.
While I wait on that to get delivered, I generate the electronic copy of the book. This is where it gets complex again. See people read ebooks on various devices, so I usually generate it then check it on:
You have to consider use cases for your ebook to make sure it works for your audience – and putting it on various devices often reveals problems. Bad formatting, poor flow, an extra space, all become apparent. It’s a good test to make the document readable (and you may find additional errors).
Then at some point the book arrives, and I go through that. With a pen. I mark every page with an error, folding the page down, and underlining what’s wrong. I usually go through the entire book – then fix it in the publishing document, and at ties the e-book document. Sometimes there’s even issues with the cover you have to fix.
Then it’s running both over again, ordering another copy of the print book, and regenerating the eBooks. I’ve had to do the print book over four times at some point (note, that is due to rushing formatting so half that was my own damn fault).
Once it’s good enough (meaning I can make a pass through both without seeing an error or at least one I care about by that time), it’s a go. I upload the eBooks and I give confirmation the physical book is OK.
By the way, by now the feeling isn’t so much triumph as relief.
Publishing is often my least favorite part of doing a book. OK it is my least favorite part. This is why I try to get good formatting done early (I use templates for my books), finish covers, and check carefully. Once you get into this publishing cycle of actually getting the book out it can feel like a hideous grind.
It is a hideous grind, who am I kidding.
At this point I’d take a break, but there’s usually marketing to be done. I’m not going to write on that for awhile as I kind of am not great at that. Perhaps when I get further i’ll talk about it
But there you go, how I write. I hope it helps.
. . . I kinda feel exhausted at this point.
All right, so where are we in this extended discussion of how I write my books? We just covered how I edit my wordspew and it’s time to talk editing.
After revising and revising and revising, my book is eventually “good enough” to be edited. By good enough I usually mean a mix of “this is good” and “oh god I’m sick of this, I’m gonna stop now.” The latter is usually more prominent than I’d like, but anyway I’m at least at a stopping point.
When I refer to as editing, there’s sort of two kinds I lump under “Editing” because they’re really intertwined.
Before I go into how I do this, there are times I don’t do any editing beyond my own writing. At least in the past. Let’s take a look at that, if only for confessional purposes.
Let me repeat – this is when I don’t have others edit. I still edit the hell out of my own work, even if poorly.
So first of all, I don’t think you should avoid having your work edited. If at all possible, someone should at least pre-read it. However there’s a few cases I can see someone not editing, which I’ve done or at least think I did:
I’ve done two published works this way (and hope to revise them with editors and pre-readers when I can). It can work.
But I don’t recommend it. But hey, I gave you an out, and you can always say “but Steve said.”
Now anyway, on with editing.
I didn’t always use pre-readers – originally I only did when a book had a lot of interviews and I used them as pre-readers. In time I found that pre-readers were invaluable for insights.
See, a pre-reader isn’t an editor in the traditional/specific sense and that’s good. A pre-reader is a reader. They are not there to edit a book for language and punctuation, even when they do because they can’t resist. They’re they’re for content and flow.
They’ll catch things an editor won’t because an editor, no matter how much they read, is still editing. You really do need both. Plus it takes a little pressure off your editor – “Can you edit my terrible abuses on language and tell me if this meticulous battle scene makes sense?”
Secondly, a good pre-reader thinking as a reader can give you feedback on your book to help it become a better book. They can tell you how it can be more consistent, better organized, and so on. In turn it won’t just be a better book – that will make the book a hell of a lot easier on an editor. A book that reads easy, even with flaws, allows an editor to go to town as opposed to being stopped by confusing twists or ill-explained concepts on top of Oxford comma arguments?
How do I handle pre-readers?
Thats about it. Find, send, wait, integrate.
After the pre-reader feedback I usually do another pass through the book. then it’s off to the editor
First of all when you get something edited to publish professionally, make sure they’re professional.
That may not mean they’re a professional editor. It means they have professional-quality skills relevant to what you’re doing. It could be from writing their own novels, it could be editing fanfic for ten years, it could be an experienced technical writer. Just get someone who can edit for what you’re doing.
I like to fansource, finding editors through fandom and geeky connections. They “get” me, I often get a break on price, they get their name on a book they like, I act as a reference, everyone wins.
I usually give an editor 1-3 months depending on the complexity of the work and their schedule. It also gives me a nice break, and sometimes while waiting I do extra formatting or setup for publishing. Or write another book.
When I get the edited document back, I don’t use that document to make the final book – I read through it, page by page, integrating comments and changes into a new copy master document. That forces me to read and pay attention, and makes sure I don’t end up with a book laden with things I forgot to address, remove, or change.
This part usually takes at least a month. My goal, when it’s done, is to have it done.
So once that editing run is done, I do one more spellcheck and grammar check, and read through the book (yes, again). If I find any errors, I fix them – and run that check again.
At this point, having done so much editing, I use that previous trick of reading parts out of order just to keep myself fresh.
My approach is to read it through. If anything changes in the small I fix it and re-read that chapter. If there’s any large change, I re-read the book from the start, or at least skim. I’m done when I do a pass through and didn’t change anything.
Then it’s one more spelling/grammar check. Then it’s done
So with the book edited – pre-read and edited properly – and with my final read-through’s its done. Ready to go.
It’s time to publish.
And let’s get back to How I Write with me, Steve. Who Writes. This. And books. But also this post. Er. Anyway, you get the idea.
So to recap I’ve covered how I write up to the point of actually writing. It was basically:
By the time this is done I have a well-outlined book that is written by a mixture of gut, heart, imagination, and desperation. The outline provided guidance so the book “works” – in that it reaches a goal – but the results are often less than stellar.
In short, my first draft is usually very first and much draft. It’s often done with surprising speed, but it’s really not that great. That means my next step is re-writing.
I hesitate to call this editing since my re-writing is not that subtle an exercise. Sure, I often have content thats in better shape than it sounds when I call it “word vomit” – but at best it’s not polished, and at worst parts of the content only worked in my head. So it’s time to go through and re-write it because sometimes it changes massively.
Which isn’t as bad as it sounds. Usually.
So my first pass on rewriting the book is the most intense. I go through the book, in order (so I can keep the big picture), and work on:
Sometimes you have to re-outline chapters or sections in the first pass – and my advice is when you can, do it. I’ve saved “re-outlining” for later review cycles and it was incredibly painful because so much of the book had “solidified” that changing it was like adding onto a house. If you have to make major changes, do it first thing or it will be harder later (and may reveal hidden mistakes).
A first pass can sometimes take as long as writing the book in the first place. There’s no shame in this – really it’s just another part of “writing.” You’re rarely going to get it right the first time.
So after the first pass, what do I do?
After your first pass, I take a break from the book. Sometimes a few days, sometimes a week or more, but I try and step away. I usually need it.
Why? Because familiarity breeds not only contempt, but sloppiness.
I can get to know a work too well, and then I start seeing what’s in my head, not what’s on the page.
I can get tired and want to just “get through” the re-writing – so I rush it. This always comes back to bite me.
I also need a break.
So I rest. I do something else. I blow up some enemies in Team Fortress 2. Then I’m back at it with a new perspective.
Usually after a first pass the book is in pretty good shape. It may not be “book like” but it’s “sort of a book.” That intensity in outlining, that instinctive writing, that careful review pays off so later passes are less painful. If you think about it the book had a solid idea, a solid outline, a massive dump of information, and a later shaping of that information into something clear.
Its usually pretty good – but I always have to make that second pass.
On the second pass I’m focusing on concepts and communication Did I really say what I want? Is the order right? Are things clearer? Does the book do it’s job? Is it really what I planned?
If I planned well and re-wrote well, the second pass isn’t so bad – it may even be easy to do – and it’s easy to spot problems. By now the book is polished enough my mistakes are obvious. Here I can correct them if I didn’t get them a first time.
In some cases, I may have to re-work a section. When I’m on to the second pass, I do not do the re-working as a “vomit draft.” I take a much more craftsmanlike approach – taking my time, editing as I go, etc. At this point since most of the book works, trying to ram ahead and dump a bunch of writing in can throw you off.
The only exception is if a section or chapter has to be completely rewritten – then I may re-outline it, dump it, and edit it separately.
Also at the end I usually run a spellcheck and grammar check, for my sake and for those who may soon see the draft . . .
I may have to make other passes if the book doesn’t “feel” done or if I keep finding mistakes and thus assume I’ve missed even more. I keep going through it until it’s done right – often three to five passes.
Looking at a book over and over again can make you miss problems, however – again one can end up reading the book in their head, not what’s on the page. So here’s how I mix it up:
I keep going until it’s done. Speaking of, what is done?
So at some point I’m done (usually about 3 passes in, sometimes 5). I consider it “a book.” That is done by the standard of:
So what’s next? Editing. Where the book goes to someone else who then promptly tells me everything I screwed up.
So lately I’ve been reviewing how I write. Let’s take a look at where we are:
When I write I usually get a big idea, then I review and record it. I figure if it’s book worthy if it fits my goals. Then, I work on an outline (in fact I usually work on that earlier as I’m inspired and want to evaluate the idea).
So how do I write? I mean I’ve talked about getting up to the point of writing. So when does it begin and do I actually get stuff done
The above activities set the stage. I got an idea, I have an outline, I have drive. All that’s left is basically cut loose.
In short, I kind of vomit onto the page.
Actually I’m being a bit facetious. I have an outline, so it’s not vomiting onto the page, it’s vomiting into a very specific framework that lets the vomit flow into the right form.
I sit down, with my outline, and following the direction it set I start writing. The Outline provides me enough information to know what to write, and I simply do it. I rarely take the time to do any editing or revision unless I have to. My goal is to get from A to B in that outline as best as I’m able, even if it’s kind of crappy, half-assed, or understandable only to me.
(In case you wonder, yes, sometimes I eventually throw things out. But stick with me – this works)
So what’s the benefit to this? Quite a bit:
Now note that this method doesn’t work as well if you don’t have an Outline. The Outline gives you a pattern to work with (so you don’t go off the rails) and making it keeps you rethinking your ideas (so they’re more instinctive to write). Going with no Outline can result in this vomit method getting pretty incoherent.
I usually set a pace for me to write – based on the aforementioned Outline – on how much I’ll do within a certain time. It doesn’t have to be good or coherent, but I cover a certain percent of an outline within a given time.
I usually block out the major tasks of my book in terms of months, and set writing goals by weeks. This way I have the large outline of the book (done in X months) and specific, actionable goals (get 15% through the Outline in a week).
I need this pacing not just to set goals, but because the outline and the “vomit method” actually mean I can overdo it. I’ve had huge writing binges of hours where the words are coming out, and after awhile I’m exhausted. I have trouble remembering writing parts of “Cosplay, Costuming, and Careers” as I was at my desk for hours. Well I think I was.
You can too easily burn yourself out doing this – and because the goal is to “get it done” you might not realize it’s happening. A 10% decline in quality when you’re using the vomit method isn’t apparent, and you won’t notice you’re real tired until your quality is much, much worse, or the words just stop. Setting the goals helps this . . . but you might just go a bit farther.
So I pace myself, but I’ve never found a perfect method. Mostly it’s a mix of gut,pre-set deadlines, and guesswork.
That may explain a few things.
Now even though I go and just vomit onto the page, I do occasionally revise the Outline itself.
At times (less and less as I go on) you may find that things didn’t quite work out the way you expected. It’s OK to revise your outline if you realize things need to be restructured. However I’d do that as a separate task or after taking a nice break from “vomit writing.”
I also have found that in a few cases of writing you have to write in detail to know just what order things should be within your outline. You may, say, know when events happen in a chapter, but only later discover the order you tell them in may need to be done differently. Sometimes orders aren’t even apparent until you start writing – which is fine (and has been something I’ve done deliberately because I had to read over a lot of research and it was easier to find a pattern while reviewing it and writing about it).
So then I’ve got a book that’s really a fast-written dump of ideas into a reasonably planned outline. It’s barely a book at all.
Which is why, after I finish up all that writing, it’s time to go editing. That’s when a book starts to become a book.
Last time we met, I discussed that a major part of my writing is actually deciding what to do write in the first place. I don’t just go “oh, I have to write this,” I ask where it fits in my larger writing career (and, occasionally, vice versa). Part of being a writer, to me, is filtering.
But at some point the time comes to Write That Book. So I write that book – by writing something else. The Outline.
Almost every large work I write I write is Outlined, often in fine detail – fiction and non-fiction. I have it broken down into major sections (often chapters) and what they’re about, and often down to individual paragraphs.
The reason for this is multifold:
As important as this is in non-fiction, a good outline is even more important in non-fiction. A large cast and large series of plot elements can easily go “off the rails” if you don’t keep track of things. Writing a book, on say, Ball-Jointed Doll clothes may require certain cases of following instructions, but tracking three battles and twelve characters across 300 pages is going to be even crazier.
I have one friend working on an utterly brilliant story involving precognition. Imagine where they’d be without an outline . . .
So, me, I outline. And what’s a good Outline? Well, my outline tells me it’s time to discuss that . . .
So what does my outline contain? Let’s look into that before I get into how I make it. It sort of makes my goals clear.
First, a good outline contains a breakdown of the various Sections of a book – often this is chapters, but in the case of fiction it may be major events or milestones. These are the “big pieces” of the book that get you from A to B, be it learning a skill or telling a tale. The various sections are
Secondly, the Major Sections are also broken down into individual pieces, the elements that make up these Really Big Things. A Chapter on, say, writing skills may cover the major skills and their role in your career. A big event in a book, say a war, may start with how characters get involved in said war, what happens at various times, and the fallout.
Each Section has a specific goal, getting from A to B. If its complex, not always clear, or needs precise pacing, I break it down further into subsections – major events, major points, etc. For my nonfiction I may go as far as to break down what each paragraph is about.
You probably realize now that my Outline is, essentially, a fractal. A Section has a start and a finish – and a goal. So does each part of it. So may each paragraph if I outline that far.
Sure this sounds like it may take time – it may or it may not (sometimes this stuff nearly writes itself). I stop when I have enough information to know I can start. You can overdo it.
When you really get “in the zone” of building the Outline, it can happen fast, it can be instinctive, and it can be powerful. You truly know your subject after awhile, and it just flows.
Let’s talk about creating it in detail.
So how do I create that outline? That . . . is both organized and not, depending on what I’m writing. There’s a few methods I use to get started, depending on what works and what my mood is. Then it’s mostly the same.
Methods to get started:
Which method works best? That’s really something you have to try for yourself – and it depends on the subject. Stories usually work with a mix of A to B or The Probe. Nonfiction works can fit any in my experience – and you may not know which is best for a subject until you fail at it once.
So once I get started, and have a basic Outline, I then review sections, figuring out what has to go in them. At this point since I know the goals of the book, I can pretty much write from A to B each section. I cover each major issue that has to be covered at the very least.
If a book is larger, I often do several “Sweeps” fro start to finish, getting the Outline straight, reviewing it, and often adding more and more detail to the book – breaking each major Section or Chapter down further and further. Sometimes, as noted I literally get to the level of figuring out what each paragraph covers.
How far do I take this? Usually “until I have enough to start writing” or “I’ll know it when I see it.” One can usually tell, instinctively, if a book is ready to go.
While doing the Outline, a few things to try out . . .
So as I work on my Outline there’s a few things I do or try out:
So once my Outline is done, I make sure to store a copy of it. Because now it’s time to start writing . . .