Lesser Known Pieces Of Editing Advice From 14 Publishing Pros

In the spirit of helping you write the best book possible, we’ve gathered a list of lesser-known editing tips from 14 experienced editors and authors. Between them, these ladies and gents have been through the editing wringer hundreds of times, and house worlds of wisdom we should heed.

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Beth: BZHercules.com, a low-cost editing and consulting service

In short, don’t do it [editing your own work]! It is a huge mistake that can cost an author time and money, as well as cause some embarrassment. Whether the writer is seeking to publish traditionally or to self-publish, there are certain guidelines, rules of grammar, and formatting requirements that are best left to an experienced editor. For example, many of the smaller “boutique” publishers that have popped up on the Internet require use of Chicago Manual of Style formatting for submissions. Many authors do not know what to look for regarding this style (e.g., how to write numbers, titles, and abbreviations, or indent paragraphs) and should use an editor that is familiar with it. The placement of commas is another frequent issue for authors (The serial comma is a killer!), and don’t even get me started on semi-colons (Okay, I will get started—it is necessary punctuation and it cannot just be thrown out of writing because the author doesn’t believe in it! That is punctuation-discrimination at its worst.).

If an author is self-publishing, the risks associated with posting work that is riddled with errors on many of the outlets are actually higher than submitting to publishers. At least the publishers will be discerning. When posting to the DIY outlets, there is a low filter for screening errors until the work is already out there. Often, outlets such as iTunes and Smashwords will ticket submissions that have been reported as containing mistakes, and Kindle will pull them if the “right” complaint is given. Additionally, the reviewers are another source of misery for a self-publishing author who is trying to gain readers. Reviews regarding errors found in books are not always accurate, kind, or specific and giving critics fuel for the fire is never a good idea, possibly damaging an otherwise great piece of work.

My advice, then, is to find an editor with a track record of success. If you are an author who is new to publishing (You are obviously not new to writing, but that does not make your work showroom ready.), then your editor ideally is college-educated in a writing-related field (journalism, English, education, linguistics, communications), open to collaboration, and experienced at navigating through traditional and/or self-publishing (Most editors will provide a free sample edit of a few pages to you; do not, however, ask to see the edited work of others. That is confidential information and if it is provided to you, be wary of the ethics of that editor.). As the author, expect to pay for several passes through your work (one or two isn’t going to be enough if there are thousands of changes needed—although using a couple of editors isn’t a bad idea if they have similar editing philosophies. Again, ask for samples and compare the styles.), be open to criticism, and be cognizant of what you yourself are attempting to put out in the public eye. Every author needs another set of eyes that has an experienced view.

 

Meredith Efken: Fiction Fix-It Shop

Many writers tend to discount the importance of content editing. They focus on copy or line editing, and they either believe they don’t need content help or they fear a content editor will take over the story or change their voice. However, if a story fails, it’s not usually because of a couple of typos but because the story structure itself is weak or because the character development and portrayal doesn’t ring true on an emotional level. The biggest downfalls I see in many stories are:

  1. a lack of understanding of scene structure and a wobbly or disorganized story structure, and
  2. character emotions that are either too shallow or not psychologically accurate for what the character is facing.

A good content/substantive editor should be able to help spot these problems—and do so in a way that enhances the story and your voice. But if you’re not able to hire an editor, at least study some good how-to resources on those topics. My top recs are these: For story structure, Michael Hague at storymastery.com has an excellent seminar called The Hero’s Two Journeys that explains how the outer plot meshes with the character’s inner transformation. For character emotion, Margie Lawson at margielawson.com approaches character emotions from a psychological background and explains how to convey emotions in a fresh and authentic way. For scene structure, take a look at Randy Ingermanson’s article “Writing The Perfect Scene” which draws on the concepts taught by Dwight Swain in his book, Techniques of the Selling Writer.

 

Helen Baggott: Editor

Many writers embark on the editing process and assume it’s all about trimming things down. Often it is, but it’s too easy to edit out a crucial element that causes the plot to crumble. And because you, the writer, have the complete manuscript – warts and all – in your mind, you can’t distinguish between something that is still in the book and something that’s just a memory from a previous version. If you do decide to go for the chop, make sure you look at the bigger picture and resolve any potential issues before moving on.

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C. S. Lakin: Author, Editor

Writers should consider getting a manuscript critique or evaluation before any line editing. Most books have a lot of structural flaws and weak components that the writer can’t see, and it helps to have a professional work with the author to strengthen or fix these weak areas. I always say that getting an edit done on a flawed manuscript is like putting pretty icing on a yucky-tasting cake. The book may look nicely edited, but it’s not going to hold up. So getting that critique done first, at any stage, is so helpful.

 

Kristen Weber: Freelance book editor, Co-founder of ShelfPleasure.com

Put your manuscript away for at least a couple of weeks. When you come back to it for editing, change the size of the font. You need to make it look different so you can actually see it. It’s like when a chair in your house accidentally gets moved – you won’t notice it until you trip over it! It is important to present your eyes with something different so you see what’s really there. And then once you think it’s perfect, give it to someone else to read – and they’ll find even more to fix!

 

Chandra Clarke: Editor

As everyone knows, the problem with editing your own work is that you’re too familiar with the material. My best tip for mitigating that is to change both the font type and the font size on the document. If you’re working in a serif font, change it to something sans serif or vice versa, and make it a bit bigger. This will change the way the text looks just enough to make it seem different, and that will force you to focus more on what it actually says, as opposed to what you think it should say.

 

Gary Gibson: Author

One of the best ways to learn how to edit your own writing is to edit someone else’s. I started writing paid critiques of unpublished novels more than five years ago, and I think it did a lot to improve my understanding of my own writing and in the process made me a much better writer. Before that, I’d been an on-off member of a writer’s group in my home city for more than twenty years.
Taking part in a writer’s group can be invaluable, because you have to think about why someone’s story or novel does or doesn’t work. Even better is when you get to tell them what you like or don’t like about their work – and explain why. Doing that gets you thinking about the process, and the how-to of writing, and how to apply it to your own work. It’s a bit like the old saying: if you want to master something, teach it.

Rebecca Horsfall: Author

We’re taught at school that good writing involves using adjectives liberally in our compositions. In truth this is just plain wrong. The use of many adjectives is a sure sign of immature writing. When editing our own work it’s important to notice where we’re peppering our prose with adjectives and prune away all but the essential ones. The same is true of similes; you remember them: “his joints were as creaky as the old barn door,” or “her sudden smile was like the sun appearing from behind a cloud.” Similes almost always seem clunky and immature in prose. Same goes, in fact, for all the elaborate metaphors and figurative language so beloved of our school teachers. The more simple and uncluttered our prose, the more mature it will feel to readers (and publishers!)

Laurence Daren King: Literary Consultant

Set up the word processor for writing a novel, not an essay or letter as seems to be the default. Increase the margin size or font size until you have about eleven words to a line. You will then get a realistic idea of paragraph length. So many authors have paragraphs that are far too long. They think: ‘It’s only three quarters of a page long, I see that in novels all the time’, but they have eighteen or twenty words to a line.

Tania Hershman: Author

Change the page from portrait to landscape and change the font, to try and see your writing with fresh eyes, as if you hadn’t written it.

 

Sam Jordison: Author, Founder of Galley Beggar Press

If you can, cut the first chapter. It’s almost certain to be your worst bit of writing.

 

Fay Sampson: Author

Even after you’ve edited your book to the highest standard you can, get it professionally copy-edited. Writing consultancies like the Writers’ Workshop can put you in touch with an editor who will bring your work up to a professional standard and save you embarrassment later.
If you’re adamant on editing your own work, these professional editing tips will serve you well. After all, having a great story interspersed with mistakes and plot holes is a sure-fire way to have critics pounce, and readers close the book.
What other editing tips do you have? What do you look out for when editing your own book? And what are your most common mistakes?

NaNoWriMo- Dealing With The Aftermath

Congratulations! You survived the month! With the immediate NaNoWriMo challenge out of the way for many the question remaining is what now? This blog is going to give you some options on what to do with your hard written efforts and getting back to a regular writing routine.

The Proof Read and Preliminary Edit

With any luck you now have a draft of a novel, even if it’s just a shadow of one. This is great! You can’t edit a blank page, and one of the great things about NaNoWriMo is that it provides you with a building block to start constructing your novel.

The first thing you should do after NaNoWriMo (after a week break from your manuscript) is do a proof read and a basic edit. This is forging your draft into something readable while also shaping it into something that you can really work with. This is a good way to delete what you don’t need, add what you do, expand on events and descriptions, and make note of any plot holes or character building you need to do.

Your mind will automatically pick up the problems you need to fix but it might also surprise you on what you have written. Getting in the NaNoWriMo challenge zone means that you don’t have time to contemplate on whether or not you have written a good sentence or a bad one, so this first read through will allow you to stop and smell the literary roses. You wrote the first draft of a novel in a month, this is a HUGE achievement so celebrate what you like about your draft and fix what you don’t.2349632625_4eba371b56_z

Share If You Care To  

NaNoWriMo champions are legion. If you are lucky enough to have some writing pals or NaNoWriMo group of friends, why not take the opportunity to share your experiences, or even your drafts after an edit, with each other?

Showing your work to anyone can be an intimidating prospect but a fellow NaNoWriMo champion or a beta reader friend can help you move out of the first draft headspace and give you some valuable feedback.

You are still going to be very close to your project so a fresh set of eyes can help you find many of those pesky plot holes. It can also be a fun way of sharing your badly written sentences together over wine and laughs. It’s been a stressful time (especially if you have been juggling NaNoWriMo with a full time job and family) so celebrating your victory with other writers and friends will help with a much needed recharge.

Taking NaNoWriMo Lessons On Board  

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NaNoWriMo is about writing a novel in a month. But more importantly it is about cultivating a writing discipline. Now you know that you can write 1500 words a day. That is an impressive goal to maintain but what about 500 words a day? You had the writing chops to do triple that.

To be a writer you have to write every day. Picking an achievable daily goal goes a long way when working on a project. Setting out to write a novel is an intimidating undertaking. The average novel is about 80,000 words which is enough to unsettle even the most experienced writer. Yet if you are writing 500 words a day that means you will have hit your target in 160 days. Breaking it down to bite size chunks makes it a lot less daunting.

First drafts can often be the hardest and the most enjoyable part of writing a novel. By finishing the NaNoWriMo challenge you have achieved the first step in getting your novel finished. Giving your draft a good proof and edit, gathering feedback from your betas and maintaining your writing muscles will ensure you are well on your way to getting that first draft nailed down.

What lessons did you take away from your NaNoWriMo experience? Would you do it again? 

Three Tips for Surviving NaNoWriMo

NaNoWriMo is a writer’s version of blood sport. Fifty thousand words in a month, take no prisoners, a first draft heaven where anything goes. The goal is to get a novel together in a month and writers have a tendency to form a love-hate relationship with their manuscript and everything around them. This blog is going to touch on the top three things to do while preparing for NaNo so you get the most of it and not end up a wreck by the end of November.

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 Direction

Writing a book is like being dropped into the wildness, so it’s important to have a map and a compass. Finishing a first draft in a month is a huge and daunting task so it doesn’t matter if you are a plotter or a pantser, having a plan is essential. You are going to want to focus 100% on getting words on the page. Having a rough map will make sure you don’t waffle yourself into a corner and burn out. Here are some quick ideas, whether you are a strict planner or not:

  • Beat sheets– some writers hate these but they can work well to prompt you when you need to put your big events in.
  • Mind maps– grab a pen and create a scribbled mind map even if it’s to get your ideas down.
  • Chapter Plans– these can be as loose or rigid as you like. Try to view them as a suggested route but don’t forget you can move and change stuff about as you go.
  • Notebook– have a notebook designated just for your story. This is a place to jot down ideas, write snippets on the run and keep any research you will need.

Whether you plan chapter by chapter in Scrivener or jot down plot points on a wine stained napkin, you need to know where you want to go before you start. For more ideas and ways to plan go and check out Chuck Wendig’s blog, he offers some great ideas that any writer can adapt.

You Are an Island (in a Chain)

During NaNo your mind needs to be free to focus on your story and roll with all the emotions that go with it. Announcing to your friends and family that you are on a writing challenge will hopefully give them a pre-warning about respecting the space you will need. Writing is a tough, solitary business but remember; meeting up with other writers and NaNoWriMo sufferers can help refresh your mind, bounce feedback off of each other and get you a much needed break away from the keyboard.

It is going to be a busy month so setting extra reminders about birthdays, engagements or bills due dates isn’t a bad idea either. Knowing that everything is covered will free your mind of the mundane so your story can move about freely. Plan to connect so you don’t burn yourself out.

Know Thy Distractions

8583949219_f55657573e_z   Everybody has a weakness or an excuse not to write. Social Media and the ease of checking in while on your computer can seriously cut into your writing time. For 90% of us you have to fight for your writing time and protect it. Don’t waste it on Facebook updates and cat videos. If you have a Social Media weakness it’s a good idea to turn off your wifi before you start. “But I need it to research!”…No, you don’t. The point of NaNo is to write a first draft not a finished copy. If you need research then it should have been done before NaNo started (which is why it’s important to start with a rough plot idea). You can always go back and add the research information into it.

Turn the internet off, everything will be fine, I promise.

The same goes for TV and Netflix, if you know that it’s going to be a distraction, get rid of it. If you have kids or a loud flatmate then maybe head out to a café or for some quiet time at the local library. Libraries usually have quiet rooms you can book if the normal library is too loud. Know what your weaknesses are and prepare for them.

NaNoWriMo can be fun, exciting and productive, but remember that it’s a marathon, not a sprint. Preparing your month by having a novel outlined, planning to step away from the computer to recharge, and minimising your distractions, will ensure you hit your word count and get the most out it.

What Are Your Survival Tips for NaNoWriMo?

How To Run a Successful Goodreads Ad Campaign

Goodreads is a revolutionary platform for book-lovers to meet, write reviews, and connect with their favorite authors. On top of this, their Cost-per-Click Advertising system is an excellent, cost-effective way to find your readers and drive sales. This article offers some helpful tips on how to run a successful Goodreads campaign, while getting discovered by people who love your genre.

Before you begin.

Make sure that you’re fully set up as an Author in Goodreads, and that each of your books are available before you even look into Marketing.

Using your Goodreads account, you can login to their advertising site here. 

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The above image is what you can expect to see when setting up your campaign. Find your book by searching for its ISBN. This will double check that you’re advertising the right novel.

It’s a pretty straightforward system, but there are few things that will help you make the most of it. First, decide how much you are willing to spend on your overall campaign, and how much you are willing to spend per click, then consider doing the following:

Running a Successful Campaign

1. Schedule Two or More Ads At The Same Time

Unlike its cousin Amazon Marketing, you can use the same budget split across multiple ads in Goodreads. That means you can pay $30 for a campaign which has several ads running considerably. This is a great technique to to target different audiences and track which group performs the best. It also widens your net considerably, giving your ads far wider reach for the same cost. It’s also usefult to know that while Amazon has a $100 minimum campaign fee, but Goodreads does not!. So, it’s a pretty good marketing option for authors that don’t have the biggest budget set aside for marketing.

2. Target Multiple Authors for One Half of Your Ads

Take the time to research the bestsellers in your genre. Using a websites like Amazon can be extremely good for researching what is selling, and to what audience. Make note of the bestsellers’ names and their book titles.

While setting up your Targeting on your Goodreads campaign, take advantage of this bestseller list and make sure to include these authors’ names. Your ad will be targeted at their readers, and will hopefully gain you some readers of your own.

In saying that, however, don’t mislead your readers. If you haven’t written something like the next Go Set A Watchman, don’t advertise that you have. Readers will call you on your dishonesty, and like most online platforms it can turn nasty.

3. Target Multiple Genres for the Second Half of Your Ads

Make sure you know where your genre sits, and use Goodreads to target people who read those genres. If your book is Young Adult Romantic Fantasy, you can add all of that in one ad target, or you can split them up. If, like the Divergent series, your Young Adult book can appeal to adult readers as well, don’t forget to target the Sci Fi Dystopian Fiction audience as well as Young Adult.

The above warning remains however; select only the genres that your book actually falls in. Don’t try and sell something as Historical Romance if it’s Horror.

4. Try Multiple Taglines

Use multiple taglines for each advertisement. Mix it up because some people won’t necessary click on a title if you add that its only 99c, while others will, for example. Using a question such as, “Will Lassie Reach Tommy in time?” can intrigue readers to want to know more.

Taglines are great, and each audience will have something that will attract them specifically. Have fun with it, and see what makes readers click.

5. Promote Give Aways

Ads are a great way to promote your Goodreads Giveaways. This will give you double the exposure you would normally receive from a normal giveaway. If you are a new author, giveaways can help you receive reviews, as well as encourage people to talk about your book. Don’t forget to advertise your those giveaways on your social media pages, too!

6. Use a Call to Action

Use a call-to-action (CTA) on your ad such as “Add to Your Shelf.” When readers add a book to their shelf, for instance,  this action is displayed on their own profile, to all of their followers and sometimes to their Facebook timeline, too. This spreads the ad further than the one platform, and also encourages friends to discuss new books they have found with each other.

7. Clever Linking

You have the option in your ads to link to your book’s Goodreads page or any outside website. The above advice of splitting half your ads to link to its Goodreads page and the other half to your Amazon page can work to achieve two different ends. First, linking to a Goodreads page will help create a viral effect of adding books to shelves and sharing with friends and on Facebook. Second,  if you link to your Amazon page, this is more likely to result in an immediate purchase.

As you can see, Goodreads is a great advertising tool that lacks some of the restrictions of other Cost-Per-Click advertising (especially Amazon). Using the above tips will help readers find your work, while offering you value for your marketing budget, and hopefully driving higher sales.

For a more detailed explanation about setting up and running your Goodreads campaign, this is a useful video to watch:

What’s your favorite thing about Goodreads? What inspires you to click? Have you tried Goodreads advertising yourself?

 

 

Writing The Blurb – What You Need To Know

Today we’re all about blurbs. Do you write your own, or get someone else to do it? Let’s give you some guidance about what makes a good blurb, and a great one.

Have you ever read a blurb that tells you the entire plot of the novel and you have put it back on the shelves and walked away? This is one of the many signs of a bad blurb so writers take note. Giving too much away, or not sharing enough to entice, can turn readers off wanting to know more. The length of the blurb, introducing your protagonist in an interesting way and using the right tone for your novel genre can make a huge difference in the  final decision of a curious book buyer. It’s difficult for even the most experienced of writers to construct an effective and engaging blurb but being aware of the following will get your head in the right game.

How long is long?

Ideally your blurb should be of about 100-180 words. This is a good word count to aim for as it will fit the back cover neatly in a good size font. You don’t want to give too much away, it’s important to not think of it in the same way you would a synopsis. It is the second base on the way for a customer to purchase your book and your main aim is to intrigue and entice them. Take a look at the below blurb for Neil Gaiman’s American Gods, an epic novel of about 650 pages:

american-gods ‘Is nothing sacred? Days before his release from prison, Shadow’s wife, Laura, dies in a mysterious car crash. Numbly, he makes his way back home. On the plane, he encounters the enigmatic Mr Wednesday, who claims to be a refugee from a distant war, a former god and the king of America. Together they embark on a profoundly strange journey across the heart of the USA, whilst all around them a storm of preternatural and epic proportions threatens to break. Scary, gripping and deeply unsettling, AMERICAN GODS, takes a long hard look at the soul of America. You’ll be surprised by what – and who- it finds there…’

107 words is all it takes to give you a taste of what the book is about, just enough to make you curious. It doesn’t give you a blow by blow of what happens and how it ends. Less is more and finding that balance will always take more than one draft. It doesn’t have to be that short the first time round, lean it back with each draft and you will end up with a solid piece of tight prose.

Hello, what’s your name?

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Blurbs are a great place to introduce your protagonist. It’s like meeting a stranger where first impressions always count. This gives your reader a chance to emotionally connect and become attached to them. This story is about them, and if the character doesn’t interest your reader on your blurb than they certainly won’t want to spend the next six hours with them. To use the above example, we quickly learn that the protagonist is Shadow, he was in prison and is now a grieving widow. The first few lines tell you exactly who your protagonist is even if it’s only a brief introduction. You are essentially speed dating your reader, be coy enough to be mysterious, don’t tell them your whole life story and then awkwardly propose.

Setting the scene

Book blurbs are direct and immediate advertising. All advertising has an angle and a target audience. The first very big question you need to ask yourself is do you know yours? It might seem obvious but you might be surprised how many writers don’t. As the cover of your book is a symbolic language tailored to your genre so must your blurb be. Rhythm in your tone sets the scene for your novel and it should be written in the same style and voice as your story. Your goal is to target readers that like your genre and intrigue them enough to want to know more. To jump genres let’s look at Kyra Davis’s 164 word blurb for her chick lit novel Sex, Murder and a Double Latte;

310740Thriller scribe Sophie Katz is as hard-boiled as a woman who drinks Grande Caramel Brownie Frappuccinos can be. So Sophie knows it’s not paranoia or post-divorce, living-alone-again jitters, when she becomes convinced that a crazed reader is sneaking into her apartment to reenact scenes from her books. The police, however, can’t tell a good plot from an unmarked grave.

When a filmmaker friend is brutally murdered in the manner of a death scene in one of his movies, Sophie becomes convinced that a copycat killer is on the loose — and that she’s the next target. If she doesn’t solve the mystery, her own bestseller will spell out her doom. Cursing her grisly imagination (why, oh, why did she have to pick the ax?), Sophie engages in some real-life gumshoe tactics. The man who swoops in to save her in dark alleys is mysterious new love interest Anatoly Darinsky. Of course, if this were fiction, Anatoly would be her prime suspect . . .

An interesting chick lit style blurb written with a thriller twist in keeping with the plot line and tone of the novel, it ends with an emotive hook to grab your attention leaving questions and curiosity.

Quotes and Testimonials

The last thing to briefly touch on is whether or not to have quotes, or a fabulous testimonial, from reviewers as a part of your blurb. There is a rather fine line with this because unless you have someone legitimate who has critiqued your work than it won’t have any leverage. It needs to be a review from a respected reviewing company, like Kirkus, or if you have sent your work to an established writer. Credibility is key. A quote from your mum (unless she is Anne Rice or JK Rowling) will make you look like an amateur.

Round Up

Like all writing, blurbs are not an exact science. It’s helpful to look at the best sellers in your genre and see how they are constructed. Remember to take some time to research and re-draft, it may be the decider on whether or not readers take that extra step.

Use the below checklist to make your blurb awesome:

  • Length: Is it between 100-180 words?
  • Protagonist: Are you doing introductions and creating attachment?
  • Research: Have you read other blurbs in your genre?
  • Tone: Is it the same ‘voice’ you have used in your novel? Are you leaving it open ended?

 

What do you look at first when buying a book? Do you read blurbs? Or do you think they spoil the plot too much?

 

10 Frequently Asked Questions About The Book Design Process (by authors I’ve worked with)

WFAQs from book cover designershen it comes to what author’s want to know there are some reoccurring themes. I’ll sum up the top 10 questions about the book cover design process that have been most asked by my clients so that you might have a bit of a head start when getting in touch with me, or another designer.

Disclaimer: These questions and answers come directly from my own experience and it may not be the same for other designers. Think of it more as a rough guide to other designers, and the definitive guide to working with Scarlett Rugers Design.

  1. What do you need from me?

    1. Your title
    2. Your name
    3. A synopsis of what your story is about. The general overtones.
    4. Any ideas you may have
    5. Any examples which support those ideas
  2. How long will it take?

    First concepts take 7-10 working days to develop. Once I send them over I then make changes and adjustments within 24-48 hours (normally within a day). From there it really depends on your own schedule. Some authors like to take an hour to respond with their feedback, some like to take a week. Sometimes real life gets in the way and you have to go on hiatus. I have some book covers that are wrapped up in two weeks, some that take five months. Book cover design is not supposed to be rushed. It is an art form and needs time, patience and dedication.

  3. Will you read my book? Will you give me a review/your opinion on it?

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    So long as you send it to me, yes I will read it. I need a couple of weeks to read it over, as I will be working through your MS as well as many others in preparation of their book cover design launch.
    Will I give my opinion and/or a review? No. To keep things as professional as possible I do not share my personal opinion of you work. I use it as a tool to guide me in the right direction but I will not share with you or publicly what I think of your book. It just comes down to a conflict of interest, and respecting the bond between designer and author.

  4. Do you think this is the right title?

    I might seem like the right person to discuss if it’s the right title for you, because I deal with them so often, but I’m not.

    1. Title comes under copy, and I deal with design, not copy. Although I, myself, am an experienced writer my practised skills and expertise are in a visual field, not a text field.
    2. A title is also an incredibly personal thing, and it is your most dedicated readers and close writers who should share their opinions with you.
    3. I’m not your demographic. If you are publishing a heavy science-fiction novel, you wouldn’t ask a reader of romance their thoughts on the title, and vice-versa.

  1. Can you please tell me what you think of the blurb?

    Please re-read point 4. Your editor is the best person to talk through this with you as they know your book as well as you do, but can come at it from a 3rd party POV.

  2. When do I make the payment?

    It is a 50% deposit up front, and then 50% at the end of the project before the final transfer of files.

  3. I don’t know my final page count yet, and I won’t know it for a while, is that a problem?

    That’s very normal, especially if you’re looking to do an eBook release prior to the paperback. I can use a .5″ spine until you give me the final page count.

  4. How quickly do you need feedback from me?

    I don’t work with any deadlines, so I’m very flexible. Book cover design is not a rush job, and sometimes it can take a long time. Getting feedback from outside sources, getting polled responses, sharing it with beta readers, sharing it with your family, working through your editing, marketing and planning for the initial release… all of this takes time. You take as long as you need to, to send me your feedback.

  5. Can you make it look exactly like this book cover on someone else’s book? Or even like this, but with some flying monkeys, some romance, and I want it to show action and I want it to show my characters exactly as I imagine them, and there’s also a death in there so add that in too.

    This is where I come in. I read your book, analyse your brief, hear your ideas, and tell you when there’s too much/too little/too conflicting and realign ourselves with the true purpose of your book cover. This may mean working with your ideas, it may mean refining them into something that will work magic.

  6. What do you need for the promotional extras that come along with my book cover package?

    They’re promotional extras which you’ve going to scatter throughout the internet. The standard extras my packages come with are:

    1. Facebook cover
    2. Web banner
    3. A3 poster
    4. Bookmarks
    5. Your choice (if those 4 aren’t what you need)

    So you have to ask yourself, “When am I going to be using these?” Are you running a promotion, where you need to add a date/location? Do you want your website address on there? Do you need a block of room where you can put in your own copy, and chop and change it whenever you need to?

What additional questions would you add to the list? Do you have anything that you’ve wanted to ask a designer but haven’t had the chance?