(Publishing My Debut Novel Twice.)

It was an exciting day when my debut memoir was released on December 3, 2024. I had no idea how the world would receive my story. All I knew was that, as of the release date, it was out in the world—and there was no taking it back. This was daunting at first, but eventually, I fully embraced every word and was thrilled to talk about my story. Letting go of the fear of judgment was absolutely liberating. I had released the truth and owned it.

George Addair quoted, “Everything you ever wanted is on the other side of fear.” Now I understand that once I overcame the fear of what others might think, the opposite of fear emerged: I began receiving positive feedback and kudos. Some readers even wanted to know when my next story was coming out! While I didn’t expect such enthusiastic responses, of course, there were a few mixed reviews. But I reminded myself—even New York Times bestsellers don’t receive perfect scores.

My publisher, She Writes Press, a hybrid independent publisher, advised authors to apply for book awards. As a new author, I followed their guidance and submitted to a shortlist of awards. I didn’t know much about the process, only that I dreamed my book might one day wear one of those shiny stickers I’d seen on the covers of books I had purchased and admired.

She Writes Press is considered an independent publisher, unlike the Big Five publishing houses. In the indie world, validation doesn’t come with a major publishing contract—it often arrives in the form of a seal, a certificate, or an email that reads, “Congratulations, you’re a finalist.” For independent authors navigating a crowded and often confusing publishing landscape, book awards offer something far more valuable than bragging rights: They offer credibility, visibility, and a renewed sense of purpose.

Why Book Awards Matter More Than Ever

Traditional publishers benefit from brand recognition as a shorthand for quality. Independent authors don’t have that luxury. Readers, media, bookstores, and libraries may hesitate to take a chance on a book without that traditional vetting. A respected book award can serve as a proxy—an external validation that says, “This is worth your time.”

One month after release, I received an email congratulating me on winning the Gold Book Award from the Nonfiction Authors Association for my memoir. The message read, “Once in a decade, a memoir arrives that changes not just how we read, but how we see. The Housekeeper’s Secret is such a book.” I was so excited I could barely breathe. The email included comments from multiple judges that touched me deeply. At that moment, I didn’t know the difference between one award and the next—but I knew winning Gold was something good.

Winning helped my story in several ways:

• Stand out in a saturated market
• Gain credibility with bookstores and libraries
• Attract media attention
• Bolster marketing and social media efforts
• Feel reenergized about my work

But as many authors soon discover, not all awards are created equal—and some of the most important truths about the award world are the ones authors learn too late.

Click to continue.

What Authors Don’t Know (But Should)

1. Book awards are a business. Nearly all independent book awards are pay-to-play. Submission fees can range from $75 to $150 or more per category. This doesn’t make them illegitimate, but authors should be strategic. Does the award offer marketing support, media exposure, or distribution benefits?
2. Winning doesn’t guarantee sales. Some awards offer little more than a badge. Others, like the IPPYs or Foreword INDIES, can open doors—but it’s still up to the author to leverage the recognition.
3. Timing matters. Many awards require books to be published within the past 12 to 18 months. Missing this window may render your book ineligible.
4. Genre categories vary. Some lump memoirs with biography; others have niche categories. Research past winners to improve your odds.
5. Judging criteria can be opaque. Few competitions offer feedback. Was it the cover? The pacing? The politics? You may never know.
6. You still need a great book. Award-winning indie books are typically professionally edited, well-designed, and compelling.

Since that first win, The Housekeeper’s Secret has now been out for six months, and I’m grateful it has received:

• Gold Winner of the Best Memoir 2025, IBPA (Benjamin Franklin Award)
• Silver Winner of the Best Memoir 2025, IPPY Award
• Gold Award, Nonfiction Book Awards
• Best Memoir of 2024, Firebird Awards
• Finalist, Eric Hoffer First Horizon Award
• Honorable Mention, Eric Hoffer Grand Prize Finalist

My point is this: Authors never truly know how their story will be received. There are many variables, and in some ways, it’s a gamble. But one thing is certain—you gain nothing if you don’t apply.

Once I let go of the fear of judgment, the story began to take on its own agency. It moved through the world like ripples across a lake. It was read, reviewed, judged, embraced, and even challenged. That is the power of releasing a story.

So, Which Awards Matter?

Top-Tier Independent Book Awards

1. IBPA Benjamin Franklin Awards
   • Judged by librarians, bookstore owners, and professionals
   • Considered the gold standard in indie publishing
2. Foreword INDIES Book of the Year Awards
   • Run by Foreword Reviews
   • Prestigious, especially in trade and library markets
3. Next Generation Indie Book Awards
   • Offers cash prizes and a NYC gala
   • Sometimes called the “Sundance of indie publishing”
4. IPPY Awards
   • One of the longest-running indie book awards
   • Over 100 categories, which helps accessibility

Mid-Tier Awards

5. Reader Views Literary Awards
   • Strong for blog coverage and reader credibility

6. Readers’ Favorite Awards
   • Accessible, widely marketed
   • Offers editorial reviews
7. Eric Hoffer Awards
   • Honors literary merit, often respected in academic circles
8. National Indie Excellence Awards
   • Offers wide category selection
   • Helpful for author branding

Niche & Notable Mentions

• Chanticleer International Book Awards
• American Book Fest’s International Book Awards
• Feathered Quill Book Awards
• IndieReader Discovery Awards
• Book Excellence Awards

Remember, even top awards won’t move the needle unless they’re actively leveraged through media, social proof, and author appearances. Multiple wins across respected competitions can exponentially build trust and reader interest.

Click to continue.

The Real Prize

Book awards are not a shortcut to fame. They are a way to honor the journey, affirm the hard work, and offer a moment of validation. For indie authors like myself, they are a meaningful pause in the marathon of publishing—a moment to breathe, reflect, and believe.

For those considering a second book, multiple awards may also spark interest from traditional publishers. For me, yes, I’m writing again. But I keep my focus on the story, not the stickers. This path is about the art, first and foremost.

In a world where everyone can publish, it’s the authors who keep showing up, striving, and refining their voice who rise above the noise. Book awards help sustain that momentum. I encourage every indie author to apply, because until your story is judged by others, you won’t truly know how far it can go.

To all the authors navigating this journey: May your story find its readers, and may you find your well-earned moment to shine.

Check out Sandra Schnakenburg’s The Housekeeping Secret here:

Bookshop | Amazon

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The post What I Didn’t Know About Book Awards for Independent Authors appeared first on Writer's Digest.

[This interview first appeared in the January/February 2025 issue of Writer’s Digest magazine.]

Death Violations Trilogy, Sisters of the Wild Sage, Kill Three Birds

(Cyberpunk noir, weird westerns, fantasy mysteries; Mocha Memoirs Press)

Why self-publish?

I received my first publishing contract in 1998 from an online small press. Before my book reached the editing phase, the company closed. I had already submitted the manuscript to agents and traditional publishers for several years prior. It was then I decided to publish the manuscript. This was at the dawn of e-books and print-on-demand technology. A few places had begun offering software to assist authors with self-publishing. The responsibility of being able to control your art is heavy but rewarding.

Had you considered traditional publishing?

Yes. All three of my Cybil Lewis novels were initially published by Parker Publishing Company. The first two books received a small advance and a dedicated print run. My first fantasy novel, The Soul Cages, was also traditionally published by Double Dragon Publishing out of Canada. I still submit my works to traditional publishing outlets because I would like to reach a larger audience. As a self-published author, I have more creative control, but I am also responsible for all of the marketing and outreach. I understand I would need to do this as well if I land a traditional publisher, but I enjoy getting new ideas and working creatively with editors. Self-publishing can create an echo chamber, and I don’t want my works to become stale. Not everything I write is fit to be published, so I like to submit to traditional publishing houses to get feedback on my work.

Order a copy of Nicole Givens Kurtz’s Death Violation Trilogy.

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Indie publishing appeal?

The community of fellow authors who are all working to share their stories with readers. I also like the creative control indie publishing provides to authors. The editor and cover artists have a vested interest in seeing your work succeed, because every title published comes with the blood, sweat, and tears of the creative team. Most indie publishers’ profits are balanced on a knife’s edge, so in essence, they work harder to produce quality work. Finally, I like indie publishing because they’re able and willing to take risks. Some of the most stunning and unique concepts for stories are derived from indie-published works.

Indie publishing challenges?

Marketing and getting your work out there in front of readers. The market is oversaturated with books due to the ease of self-publishing technology. I do believe there’s good quality books being created by self-published authors. There are many examples, such as The Martian. There are also many not-so-great books being created as well. Those with poor editing, poor cover quality, and weak character development too. As a reader, it may be difficult to navigate through the millions of published titles at an online retailer. As an author, it is challenging to get your work noticed due to the overwhelming chorus of other authors screaming, “Buy my book!”

Wish I’d known …

That writing is a business. I focused solely on my craft that I didn’t spend enough time learning the business mechanics of being a writer. The taxes, the retail pricing, the marketing and advertising of publishing a book were things I had to learn quickly and often as I was actively producing work. Of course, when you self-publish, the number of business details increase, but when I was only traditionally published I expected—naïvely so—that my publisher or agent would handle those aspects. Those days of sitting back and watching the royalties roll in and only working on the next book are behind us. In my opinion, those seats are reserved for the large named authors, King, Patterson, etc.

Writing advice:

Continue reading, and read diverse authors and indie authors as well. Without being a reader, it is difficult to be a writer. When writers spout they don’t have time to read, I think they most likely shouldn’t have time to write. Reading recent works not only encourages us to continue writing, but it also exposes us to new techniques in storytelling and world-building.

Bookshop 
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Publishing advice:

My best publishing or business advice is to be organized and consistent. Record everything—sales, meals, costs, travel, taxes, etc. Create a system that works for you or use one already established like QuickBooks or other avenues to keep up with what you’re spending in terms of publishing and what you’re receiving.

I often tell writers who are publishing traditionally that money should always flow to the writer. A traditional publisher shouldn’t ask for money, in any fashion, in the creation of the work.

Don’t skimp on …

There are two self-publishing parts that I never skimp on: editing and cover art. Books are often judged by their covers and a quality cover that rivals or stands beside those of a traditional publishing house is worth the money. Secondly, this is a tie really because both are equally important, is in-depth quality content and developmental edits. It does no good to have a fantastic cover and a poorly written or edited text. Authors are looking to cultivate a readership. These two things are integral to establishing a readership’s trust.

Website & Social Media

Website: NicoleGivensKurtz.net
Instagram – @mochamemoirspress
TikTok-@mochamemoirspress
BlueSky-@ nicolegkurtz.bsky.social
Twitter (X)- @nicolegkurtz
Facebook facebook.com/nicolegkurtz
Buy Me a Kofi at https://ko-fi.com/nicolegkurtz

Awards & Recognition

2024 Ret-Con Guest of Honor
2023 ConCarolinas Chris Shrewsbury Legacy Award
2022 Atomacon Palmetto Scribe Award winner- Best Short Story- “Dogwood Stories”
2022 Atomacon Palmetto Scribe Award winner-Best Novel/Novella- A Theft Most Fowl
2021 Atomacon Palmetto Scribe Award-Best Short Story (2021) “The Guardian”
2021 Ladies of Horror (LOH) Writers Grant
2021 Book Riot’s “6 of the Best Black Indie SFF Writers You Should Be Reading”
2020 The Horror Writers of America (HWA) Diversity Grant Recipient

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(17 Pros and Cons of Traditional Publishing vs. Self-Publishing.)

Let’s move forward several hundred years. An author queries a book, lands a deal that is maybe five figures, then dozens of people at traditional publishers work on a manuscript before it ever reaches a printer. And printing has grown more complicated. We have perfect bound print on demand, casebound hardcover, sewn hardcover with matte dust jacket, on top of ebook and audiobook format. 

Self-publishing, for me, is an attempt at simplicity. Rather than teams of strangers tackling each task independently, I am responsible for every part of my book’s journey to publication. I take on all the risk and all the gain.

I never considered querying my first novel, Lifeless (2016). I spent nearly a decade on it, typing through lunch breaks and late nights, even when I had early meetings. The idea of tweaking this story, or radically changing it, into something more marketable was not interesting to me. The book was professionally edited, a new experience and one I was glad to experience as I did. A traditional author hoping to secure future publishing deals may be less confident arguing for their artistic license with their first novel.

The cover art by Kate O’Hara was a memorable joy. After years spent writing this novel alone, I got to learn what objects in my story resonated with an artist, and consider what to show to potential readers and what to conceal. It was an incredible experience, one rarely granted to traditionally published authors. I have never met a traditionally published author who worked with their cover designer. Some don’t even learn what the cover is until the publisher posts it on social media. The authors were not informed as respected stakeholders, let alone allowed to voice opinions or make decisions.

Under a traditional deal, I would’ve been under a different kind of pressure, too. Write a sequel, I’d imagine would be the advice, or something similar to Lifeless. Instead, I wrote a fun little novella about teleportation. With each book, I learned more skills and branched into new facets of publishing, learning to love my process for more than just the control over my work. 

For my second novel The Control Problem (2022), I produced an audiobook. Recorded and directed at Live Oak Studio in Berkeley, I sat in the same room where En Vogue and Destiny’s Child did recording sessions. Using the same studio kitchenette as once used by Beyoncé is a rare experience for an author. More than that, I learned how an audiobook is made. I spoke with the director and sound engineer, I commissioned the music and did the proofing for the file, and got to watch it all come together on a mixing board bigger than my dining room table. Then, I got to choose how to distribute the final product to the world. I understand the costs, the revenue potential of each version of each book in my catalog, and I bring that knowledge to each new book.

Since my first novel, self-publishing has only gotten easier. Many people at traditional publishing houses also work freelance, and can be contracted to edit, design, and market a self-published book. Tools for generating respectable interiors are easy to find, simple to use, and not terribly expensive. Print on demand is likewise straight forward. If you want to publish a book, you can do it with minimal technical expertise in a short amount of time. Many self-published authors put out multiple books a year; a strategy of high volume to keep readers engaged without taxing their patience.

This is not for me. The power and joy I find in self-publishing is in approximating a traditionally published work. I look at the list of experts and artists I hire for each book with pride. For The States, I have hired nine experts to complete pieces of the final product. I love writing, but I also love this kind of collaboration. I love finding experts to trust with my book, guide them towards my vision, and then let them do their magic.

With the good, of course, is the bad. All of these roles cost money, expenses a traditional publisher covers for the author. Between editing, book production, marketing and advertising costs, I have only had a couple of years where I broke even. Bookstore and library placement has been tricky. Then, there’s the social stigma. When strangers ask for the name of my publisher, they often respond to my answer with a condescending smirk. As if doing more product management and keeping full rights over my work makes me less of an author.

There are times when I yearn for a steady, guiding hand to take over decisions and tasks. To have the great machine of a Big Five ahead of me, breaking trail ahead and shoving my books into people’s outstretched arms? Delightful. I recently spoke with an editor at a major publisher. I had coincidentally read and enjoyed many of the books she had worked on, and I took the opportunity to ask questions. Perhaps too many questions. In any case, her answers were detailed and eloquent. I felt heard and respected. After we parted, I imagined what it would be like to build a book with someone so successful, a composed and confident professional.

But then, I remembered the anecdotes I’ve heard from traditional authors. Advances that barely cover childcare let alone living expenses, book tours unceremoniously ended mid-flight, books bought from authors and then never produced. And these were all told to me by superior writers. What chance do I stand in such a system?

For now, then, I will sit at my computer at night with dust motes that glimmer in the blue light of my screen. I’ll come up with my strange stories and update all the red columns of my spreadsheets and hope I’ll think of a way to break in, break through, and make this path viable. Because I love it, flaws and all.

Check out Norah Woodsey’s The States here:

Bookshop | Amazon

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The post Why I Choose to Self-Publish My Writing appeared first on Writer's Digest.

Below are the top 10 mistakes I see authors making—and how to avoid them!

1. Not Hiring an Editor (or Hiring an Editor at the Wrong Time)

Picture books are short—usually fewer than 700 words—so it’s easy to see why new authors might believe they don’t need an editor. The reality of the situation, though, is that the slight word count makes hiring an editor even more important.

It’s not uncommon for a manuscript to change dramatically in the editing process. But in order to create the best book possible, those changes need to happen before illustrations begin.

When art is created first, one of two things inevitably happens: new art has to be drawn, at an added expense; or bad plot points stay because they were already illustrated.

Do yourself a favor: edit first, then do everything else!

2. Revising Too Fast

I get queries every day that say, “I had an idea yesterday, so I wrote it down and now I need it edited.” And I have at least three authors a week turn around a revised draft in less than 24 hours.

Writing a first draft quickly is fine, but don’t forget to self-edit. Taking a few days to think through changes will give you the space to decide if your gut reaction is the right one, or whether there may be a better way to solve a problem with your story.

3. Not Researching Trim Size Before Art Begins

Time and again, I have authors coming to me with the same issue: They created their illustrations at a trim size not supported by Kindle Direct Publishing (KDP) or IngramSpark.

While offset printing allows for a range of book sizes, print on demand can be more limiting. Before getting started on illustrations, give some thought to how you plan to print and research what book sizes are available to you. Knowing this in advance is the best way to avoid the dilemma of resizing finished art.

4. Not Creating a Book Design Template

It seems obvious that once a manuscript is completed, it’s time to move on to illustrations. But there’s an in-between step that is often overlooked: creating a book design template.

A design template is a rough layout that allows an author to see how their words fit on a page and allows an illustrator to see how much room they have to work with. Once sketches (and later color illustrations) come in, they should be dropped into the template to ensure that art and text fit together properly.

Ideally, a design template should be created by a book designer. If you can’t afford one, create your own template. A design template allows the art to be adjusted and corrected before it’s finalized—avoiding issues down the road.

5. Not Negotiating Properly With an Illustrator

If there’s one thing to know about illustrations, it’s this: Simply hiring an illustrator does not grant an author ownership of the art that is delivered. Without an assignment of copyright, an illustrator still owns their art.

Illustration contracts grant specific usage rights, and they may not cover everything you need. All too often, authors find that while they can print the illustrations they paid for in a book, they don’t have the necessary rights for marketing or merchandising purposes. Going back to an illustrator for additional rights after the art is created becomes very pricy.

In hiring an illustrator, give serious thought to how you may need to use that art down the line. Will you need to make stickers? Posters? T-shirts? Might you need to change the art in some way? Before signing a contract, be sure to iron out the rights being assigned, due dates, the fees to be paid, and what will happen in the event of late delivery or no delivery of the illustrations.

6. Not Understanding the Target Market

Picture books walk a fine line that other books do not: They need to be enjoyable enough that children want to read them again and again while also appealing to the adult buyer. When writing a picture book, start by throwing away the notion that your book will be read by people of all ages. Rarely do 9, 10, or 15-year-olds read picture books on their own. Instead, focus on the target age range: 3–7. And remember that a book for that age needs to speak to what a child of that age understands, which is far less than adults!

7. Not Setting an Appropriate Budget

Self-publishing can be an expensive endeavor, and the costs can add up quickly. Begin the process by determining how much you plan to charge per book. Then do some research into the costs associated with producing a book. Set a realistic budget and a stretch budget and figure out how many books you’ll need to sell just to break even. Is it a reasonable number? If not, decide which costs you can afford to scrimp on and what you can’t!

Pro Tip: Don’t forget to factor in advertising fees and the extra cost of lost or damaged books.

8. Not Creating a Marketing Plan in Advance

In the race to get their books on the shelves, many authors never stop to think about what’s going to happen once a book is published. Finding your place in a crowded market isn’t easy, and it isn’t something that happens after a book is published.

Building buzz and getting people excited about a forthcoming book is the surest way to guarantee sales. So, start your marketing efforts the moment you conceive of a book. Share early pages. Ask opinions. And build a launch team that will read and review the book during its first week!

Pro Tip: Remember, it’s not the job of friends, family, or other authors to support your book. They aren’t the target audience. Find your real book buyers, and keep them engaged even after they’ve purchased your book.

9. Relying Too Heavily on Amazon

Amazon is a great way to sell books, but it’s far from the only way to sell books. As an author, one of the best things you can do is make a connection with your buyer. Instead of focusing solely on Amazon, try exploring other avenues such as local markets, school visits, and creating your own website. And remember: social media is a powerful tool for connecting with—and befriending—like-minded people

10. Hiring a Self-Publishing Company

All too often, I hear stories from authors who paid a company to “publish” their book, only to find that they’ve paid an exorbitant sum for something they could do themselves—and do better. Self-publishing companies make their money by selling their services, not by selling books.

Before hiring anyone, give some thought first to what you can do on your own and what you absolutely don’t have the skills for. Then find partners who can fill in the pieces you truly can’t handle alone.

Remember, an all-in-one solution limits your options. Focus on finding the right partners for each stage of your book, not the partners a company assigns to you. Trust me, you’ll be glad you did when your finished product is exactly what you want it to be!

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The post 10 Pitfalls to Avoid When Self-Publishing a Picture Book appeared first on Writer's Digest.

The Anatomy of a Best Seller: 3 Steps to Deconstruct Winning Books and Teach Yourself Craft; 8 Steps to Side Characters: How to Craft Supporting Roles With Intention, Purpose, and Power; The Anatomy of Prose: 12 Steps to Sensational Sentences; 10 Steps to Hero: How to Craft a Kickass Protagonist; 13 Steps to Evil: How to Craft Superbad Villains; A Game of Hearts and Heists

(Nonfiction writing craft; sapphic fantasy romance; Atlas Black Publishing)

Why self-publish?

I wanted to keep control and maximize the use of my intellectual property. That doesn’t mean I won’t work with traditional publishers. In fact, my nonfiction books were translated into Korean through a publisher. But when you’re an indie, you can choose which rights you sell and which ones you keep. I like the fact I can make these choices based on the publishing route I think would benefit the book best.

Had you considered traditional publishing?

I have a sapphic young adult book I’m editing. The YA LGBTQ+ market is currently dominated by the traditional market so to give the book the best chance, I’d like to query it.

Order a copy of The Anatomy of a Best Seller: 3 Steps to Deconstruct Winning Books and Teach Yourself Craft by Sacha Black.

Bookshop | Amazon
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Self-publishing appeal?

The ability to control my work life. I work how I want at the pace that works for me. Meaning, I get to set the timelines, the formats, the methods, and the marketing. Plus, I’m able to pivot quickly to utilize new tools and marketing strategies. It really is the heart of freedom.

Biggest challenge?

When you work in a team or corporate environment, you have a team to support you if something goes wrong or you encounter a problem. As an indie, everything rests on your shoulders. That’s a lot of problem solving, a lot of troubleshooting and having to work out how to fix and resolve things on your own. That can be grueling at times, especially if you’re the kind of person who likes to bounce ideas around. It can also be confidence building when you do fix something on your own and you realize you can absolutely do anything you set your mind to.

Order a copy of The Anatomy of Prose: 12 Steps to Sensational Sentences by Sacha Black.

Bookshop | Amazon
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Wish I’d known:

I wish I’d understood the power of simplicity in story. When I wrote my first book, I thought everything had to be completely unique and original which resulted in a complex world, plot, and storyline. It was too much. Just because you use a simpler plotline or story structure doesn’t make the story “lesser.” Readers love tropes for a reason, there’s safety in familiarity and lots of flexibility to be creative. I wish I’d understood how to deliver what readers want sooner, but it takes time to understand both how to craft a story and how to match it to reader desires.

Writing advice:

The best action I ever took for my writing craft and business was to learn how to deconstruct what the bestselling authors are doing. What literary tools and devices are they using, how long are their books, do they have clean prose or rich descriptions? What tropes are they using and how pacey is the story? I go to a forensic level and pattern spot the commonalities across multiple books in whatever genre I’m writing in. This helps me deliver a story to readers that I know they’ll enjoy.

Then I do the same but for the author platforms and marketing. What platforms are they using? Are they running ads and if so, on what platforms? Do they content market? Do they rapid release books or do one a year? I sign up to their mailing lists so I can see the frequency of emails and content, I look at their branding and color schemes the way they present themselves online. This, just like with craft, enables me to build a business that I know will appeal to readers, create a platform that attracts them and driving advertising that I know works.

Order a copy of A Game of Hearts and Heists by Ruby Roe.

Bookshop | Amazon
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Marketing Strategy:

We are in a pay-to-play market. There are a lot of books out there and if you want readers to see your books, you need to find a method of driving traffic to them. I do that through a combination of paid advertising, like AMS ads, paid newsletters, and content marketing. For content marketing, I use TikTok, podcasting, interviews, speaking, and social media.

The most important part of my marketing, though, is getting the right reader magnet to encourage sign-ups on my mailing list. Your mailing list is always your best asset because it gives you direct access to readers who know and like you and want to read more of your work. You control your list, no one can take it away from you, and even if the big bookstores fall, you can still sell books directly to readers through your mailing list.

Don’t Skimp On:

I don’t think it will come as news to anyone, but do not—under any circumstances—skimp on the cover. Don’t do it yourself; just don’t. Readers will one click buy if the cover is good enough, and they’ll one click leave if it’s not. Even as an author myself, I will refuse to pick up a book if the cover isn’t good enough. Your cover is your first marketing tool. It’s the first thing readers see and therefore the first opportunity for them to pass on your book. Pay a designer. Get the best cover you can.

Website:

SachaBlack.co.uk
RubyRoe.co.uk
pod.link/rebelauthor
Instagram.com/sachablackauthor/
TikKok.com/@rubyroeauthor

[Click to continue.]

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Name: Jeff Adams

Books, Genre, Self-Publishing Imprint: The Hockey Player’s Heart (co-written with my husband Will Knauss); Keeping Kyle, Somewhere on Mackinac, Dancing for Him; the Codename: Winger young adult thriller series. (Gay romance, Young Adult with LGBTQ+ characters, Big Gay Media)

Why self-publish?
I’d been a hybrid author since 2015 when I self-published a novella so that I could learn the process. In 2020 I went all in on self-publishing after a bad experience with a small publisher. As I took all my rights back, I released the books myself. I like self-publishing, being able to control the release schedule, the distribution, and keeping a larger percentage of the royalties. Plus, I get to pick exactly the people I want to work with from cover designers to editors and everyone else who is a part of creating the final product.

Order a copy of The Hockey Player’s Heart by Jeff Adams and Will Knauss.

Bookshop.org | IndieBound | Amazon

Had you considered traditional publishing?

I started with a micro publisher with my first novels and had a great experience. Moving to the larger, but still small publisher, was good for a time as well. I’d be open to consider working with a publisher again, and I’d like to think I know more now about what to watch out for, and what I would ask for as part of that partnership.

Self-Publishing Appeal:

I love that everything is in my control. I decide what I want to write, when it will come out, how it’s distributed, everything. There’s no gatekeeper, and no time constraints. I can move as fast or slow as I want, and I can do anything. Of course, there are business ramifications to all of it, but at least it’s fully in my control. The success, failure, or something in between is mine to own.

Biggest challenge:

The thing I like the most, is also the most challenging, everything is ultimately up to me. It also means that I must have the cash flow available to work with designers and editors, and to acquire cover photos, and buy ads or promotional opportunities. I have ultimate respect for those who do this full time and make their living doing it because there are a lot of ups and downs. While I treat what I do as a business, it’s not the primary source of income so there’s more leeway for me—but it doesn’t make those challenges disappear either.

What is the one thing you wish you’d known before publishing your first book?

My first novel came out in 2013 and I’d worked on it for three or four years. I wish I’d better understood story structure then. Despite reading heavily, I wasn’t reading with an eye towards analysis and how author’s told stories. That said, I think all authors learn on the job so I’m not sure that first book could’ve been anything other than what it was.

Writing Advice: Make sure you understand the expectations around the genre you’re writing in. In romance, for example, it’s about using the tropes and beats. Failure to follow the rules can lead to problems when it comes to readers liking the book. That’s not to say that the rules always have to be followed, you can (and in my opinion should) take risks and break the rules. It’s far easier to do that when you know the rules backwards and forwards.

Publishing Advice: Do what feels right for you and what meets your “why” for publishing. You’re going to have far different business goals and strategy if you’re trying to make a full time living than if publishing is a side business, or a hobby. Also, give yourself the permission and grace to change your goals if needed. Life circumstances may change. Your ability and desire to create may change. As with any small business, you must do what’s necessary to keep the business and yourself healthy. Sometimes that means adjusting goals and strategy in small or large ways.

Marketing Strategy: The pandemic took a toll on my creativity, so I haven’t had a new novel out in a couple of years. I admire the writers who were able to write and publish amazing books during that time. That said, I’ve taken part in some opportunities to grow my email list, which is such a vital marketing tool that helped promote my re-releases as I got those out during 2020 and 2021. I’ve also done some multi-author promos in the gay romance genre and those have been great in reaching readers who may be unfamiliar with my backlist. I also recently got my first BookBub featured deal and was very pleased with the results. As I consider marketing for any new release I have (hopefully within the next year), I plan to follow the lead of successful authors in gay romance and utilize some Amazon ads, along side email marketing.

Order a copy of Tracker Hacker by Jeff Adams.

Bookshop.org | IndieBound | Amazon

Where shouldn’t you skimp?

Please don’t skimp on editing. I’m a huge believer in both developmental and line/copy editing. A good developmental editor can transform a story from merely good into extraordinary. That can make the difference in a book that readers love and recommend, and one that readers don’t finish. Of course, line/copy edits are key to making sure grammar and punctuation are correct, which is also important for a good reader experience.

Find Jeff Adams Online:

Jeff Adams Writes: http://jeffadamswrites.com/

Big Gay Fiction Podcast: http://biggayfictionpodcast.com/

Facebook: https://www.facebook.com/writerjeffadams/

Twitter: https://twitter.com/WriterJeffAdams

The post Jeff Adams: Publishing Advice for Indie Authors appeared first on Writer's Digest.

Name: Nikesha Elise Williams

Books, Genre, Self-Publishing Imprint: Four Women; The Appeal of Ebony Jones; Love Never Fails; Adulting; Lessons We Were Never Taught; Beyond Bourbon Street (African-American fiction, women’s fiction, literary fiction, poetry, NEW Reads Publications)

Why did you choose to self-publish? Had you considered traditional publishing?

I had no other choice. When I finished my debut novel, Four Women, in March of 2015, my goal was to find an agent, get signed, get a book deal, and have a storied literary career. Clearly, it didn’t work out that way. I spent months querying agents. Some sent back form rejections. Many didn’t respond at all. One agent who rejected the manuscript told me I was a good writer but needed to do some revision on the format of the book. I asked if I made those changes and resubmitted would she consider it, but never heard back.

Shortly after experiencing these months of rejection, I remembered seeing an article from ESSENCE magazine about why writers should consider self-publishing. I took it as a sign and began setting up an account on CreateSpace and BAM Publishing. I took head shots for my official author photo, had a website built, and a designer create the cover. As I was taking all of these steps preparing to self-publish, I saw another article with the basic premise of, we all know someone who can help us reach our goal.

And I did.

At the time, I was working in television and a lot of the reporters and anchors had talent agents. I asked a good friend—who wasn’t agented—if her boyfriend’s agent knew any literary agents. She did, and he did. I connected with the literary agents who liked the manuscript and wanted to represent me. I signed with them in November, December 2015. I took Four Women through one revision on format as the one agent suggested and another revision to vary my sentences as well as add three chapters to give balance and some back story.

By early fall of 2016, my agents began pitching to editors. Two said yes to receiving the full but in the end, there was no sale. Toward the end of that year the Jacksonville Public Library announced its inaugural Jax Book Festival for 2017. I told my agents about the festival and we agreed that I should go and pass out galleys and samplers to people who were there. Additionally, me being the TV producer I was at the time, I created a trailer for the novel to get more people excited for this book I’d written. As I was making the trailer it occurred to me that when you watch a TV or movie trailer it includes a release date. As I sat there trying to figure out what to do I felt in my spirit to go ahead and put a release date in.

When my agents saw it they asked if I was firm on the release date, I said I was. That if it hadn’t sold by that date I was going to put it out myself.

At the book festival, I connected with a husband and wife editing team who’d worked at Urban Books. When my agents were unable to sell my book, they said all I needed was a copy edit before it was good for publication. I took their advice, reached out to the editors I met at the book festival, and published the novel myself. I’ve been self-publishing ever since.

Order a copy of Four Women by Nikesha Elise Williams today.

Bookshop.org | IndieBound | Amazon

[WD uses affiliate links.]

Self-Publishing Appeal: I like the autonomy of self-publishing. With five novels and a poetry collection that I turned into a one-woman show that ran for four days before the pandemic, I have been able to bring my wildest dreams to life. There is something very fulfilling about that for me. Though this was not what I imagined, I can’t say I’m not living an author’s life. It’s hard but it has been rewarding.

Biggest Challenge: One, how expensive it can be. Self-publishing is exactly that. You do everything yourself, therefore you pay for everything yourself. It can get out of hand very quickly if you’re not strategic about it.

Secondly, trying to break through the crowd and stand out and build an audience is extremely difficult. Self-publishing has democratized the publishing industry in a way allowing anyone with some words and some know-how to release a book and call themselves an author. It is one of the reasons self-publishing is so stigmatized and traditional publishing itself is seen as prestigious and elite. Breaking that stigma and proving that I’m self-published because of gatekeeping, not because I can’t write, has been extremely difficult. Yet this interview, this feature, has come about because of my consistency and my work ethic to set myself apart.

Wish I’d Known … : I wish I had known then to fall in love with revision. To enjoy the writing and rewriting–not that I didn’t–because it’s truly the easiest part.

Writing Advice: I think the biggest piece of craft advice I have is to be open, especially for us plotters. Be open to changing directions. Be open to your characters’ point of view and what they have to say. I truly believe I am a conduit through which these stories are being told. I don’t try to force my characters into something that doesn’t feel authentic to who they are. I keep myself open and change course and change direction if need be. Yes, I’m writing but I’m also discovering just the same.

Order a copy of Beyond Bourbon Street by Nikesha Elise Williams.

Bookshop.org | IndieBound | Amazon

Publishing Advice: Remember that publishing is a business. The end goal is to make money. Yes, we write for the love and the art of it all. But love doesn’t pay the bills. Love the art. Work the business.

Marketing Strategy: In a number of ways. I’m not the best at marketing, being a journalist by trade, but I am ambitious and relentless. With that said I’ve done some crazy things. I mentioned my debut novel came out in 2017. I worked in television until 2019 on the 2:30 p.m.–midnight shift. Because of my schedule I would drive across state (I’m based in Florida) or even out of state to do interviews on local morning TV because I had friends who worked in those markets who would put me on their show and then drive back to my city and go to work. We’re talking 4, 5, 6, hours roundtrip for a five-minute interview clip (if that) that I could post to my website and share on social media to make it look like I was this big-time author.

I attended a lot of book festivals paying vendor fees that ranged from $50 to $500 or more. This is what I mean by being strategic about the money being spent. Not all book festivals are created equal. However, each one helped me expand my audience.

I’ve also done a lot of workshops. This profile is a result of one of my workshops, my most popular workshop really, one I asked my local library if I could give in an attempt to market myself and my books. The first time I gave the workshop in February 2020, it was for free. Every time I’ve given it since, I’ve been paid as a speaker and been able to sell books as well, be it virtual or IRL.

The difficulty in book marketing is the main reason I started my podcast “Black & Published.” I knew how hard it was for me to get my work and myself out there as an indie author and wanted to provide a platform for other BIPOC indie writers to come to talk about their work.

Whether indie or traditionally published, but especially for BIPOC authors, it’s not just about marketing the book. It’s about marketing yourself as an author. The author is the brand. The book is just one of the products.

Where Shouldn’t You Skimp? The one part of self-publishing where authors should never skimp is on the craft and the production of the book. When I realized that I was going to have to self-publish, my goal was to make sure that my novel looked like anything you would buy out of a traditional bookstore. I do numerous revisions with myself before the manuscript goes to my editors and then I go back and forth with them so I can get the book into the very best shape it can be so to make the reading experience easy and pleasurable.

I do all of my own page formatting and typesetting and I am anal about it. In the beginning I would grab my favorite book off the shelf and match the interior layout page for page. Now it’s nearly second nature. Yet, if I’m ever unsure of how a book should look, I’ll find a book on my shelf that has a format similar to one I’m trying to emulate and use it as a model.

I also don’t skimp on cover design. Let’s face it, we judge a book by its cover. We just do. We’re visual creatures. I’ve worked with the same graphic designer since the first iteration of Four Women in 2015. We’re six covers and a podcast logo deep. Whatever she tells me her fee is, I pay it. Same with my editors.

Pay the people who can help you make your work shine.

Websites: NewWrites.com; NewReadsPub.com; BlackPublished.buzzsprout.com

Twitter: @Nikesha_Elise

@BlkandPublished

Instagram: @nikesha_elise

@blkandpublished

@newreadspub

Awards:

2021: Beyond Bourbon Street–Best Fiction, Black Caucus of the American Librarian Association Self Published e-Book

2020: Beyond Bourbon Street—Outstanding Book, National Association of Black Journalists

2018: Four Women—President’s Book Award, Florida Authors and Publishers Association

2018: Four Women—Outstanding Literary Work, National Association of Black Journalists

The post Nikesha Elise Williams: On the Power of Self-Publishing appeared first on Writer's Digest.

(How to Crowdfund Your Book)

In 1986, as we were preparing to float Juliana’s on the stock exchange, I had the overwhelming urge to capture all my memories of parties and business dealings on paper. The book, called No Ordinary Experience—the Juliana’s story, turned out to be easy to write and it was serialized in The Daily Telegraph later that year.

My debut novel, The Other Side of Loss, about a priest finding a winning lottery ticket in his collection plate, I was not so lucky with. It seems that I am not alone: These days, writing a book is hard enough but getting it published even harder. The dominance of Amazon and increasing commercial pressures in the book world means that publishers are no longer so keen to take risks on unknown authors—especially, I believe, those of a certain age. (I’m 73.)

I hit a blank wall and grew really demoralized—saved only by the advice of a literary agent who told me to stop wasting my time and go down the self-publishing route. It was not the advice I was expecting but nevertheless I took it, and I’m forever indebted to her for her advice.

Now eight years later, The Other Side Of Loss is a hit in self-publishing terms. So far it has sold over 10,000 copies and been featured on bestseller lists—quite a respectable figure considering most self-published books sell around 500. I have just self-published my second book, Hope…And The Hedgehog, a digestible exploration of the meaning of life, which is out now.

Bookshop | Amazon
[WD uses affiliate links.]

The Key Lesson: Channel Your Inner “Authorpreneur”

Many people would have given up at the first hurdle, but I was brought up to believe that I could do anything if I set my mind to it. My time as an entrepreneur—or “vigorous muddler” as I prefer to call myself—taught me that you should embrace setbacks and never see problems as insurmountable. Anyone in the same boat as I was should try to find their inner “authorpreneur.”

I’ve learnt many lessons from self-publishing, the most important one being to go into it with your eyes open. Come to terms that you won’t make a fortune—you will need to sell hundreds of thousands of books to do that (I doubt if I’ve even made £1000 from The Other Side Of Loss).

Accept That Self-Publishing Is a Labor of Love

Understand that, because of the sheer volume of books out there and the fierce competition, it’s highly unlikely you will go viral. The chances of repeating an E.L. James’ surprise self-published hit Fifty Shades of Grey which went on to become a global sensation in 2011, is one in a million.

If you go into this accepting you are self-publishing for the love, not the money, you will discover how liberating it can be.

The sheer brilliance is that you can write about your passion and be as niche as you want to be; you have no publishers breathing sales figures down your neck. There is always an audience out there for any book, however small—it’s just a question of getting it in front of them. In this way, it can be time consuming.

This is especially true if you are doing it yourself directly on Amazon, as an ebook or print (through Amazon’s print on demand service). This is the budget option, so be forewarned—it’s a long process and you will need to get your head round things like SEO (Search Engine Optimization) which is vital for making your book rank on the page so your customers can find it. In the early stages, you will also need to keep tending your book like a lawn—which means monitoring your listing price (Amazon recommends you start low and gradually increase it to find the optimum price). Follow the recommended how-to guides online.

Self-publishing is no walk in the park, but you will reap the benefits. You can get your book out there faster and not have to wait years tracking down a literary agent. Royalty fees are higher than traditional publishing and you get to keep the rights—so, if a Hollywood producer chances on your book and wants to turn it into a global box office hit, then you’re in the money, not your agent.

What to Spend On and What To Save

If designing covers and proofreading becomes too much, reach out to your network—I found my wonderful cover illustrator, Miranda Harris, that way. There are also several writers’ organizations on Facebook you can join that are great places to start for advice.

Hire a good editor and keep hold of him/her! Mine is called Clive Dickinson. I met him by chance over 20 years ago and he is my right-hand man, helping me not only with the editing process but also steering me through the self-publishing minefield.

You can also proof your book yourself but in my opinion, this is one area you should not cut corners on, so hire a good copy editor. Even the biggest writers in the land need someone else’s eye.

The Halfway House of Self-Publishing

You can also plump for the easier option of hiring a self-publishing firm like I did. Amongst their many services, they can guide you through the system of getting ISBN (International Standard Book) numbers—a requirement for print books (not e-books).

Shop around; these companies charge competitive rates and often aren’t as expensive as you might think, plus you can pick from a menu of options according to your budget and how much work you’re prepared to put in for yourself.

I got my self-publishing house to do most of the legwork for both books so I could be free to go out and do book talks. I love meeting people. I think, if anything, that’s a huge advantage of self-publishing that no one talks about as often—there’s no ‘marketing team’ editing your copy or deciding where and who to sell it to; you get to put it out there, meet your readers and listen to their direct feedback. I think that makes you a better writer in the long run.

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*****

In Writing a Standout Self-Published Book, I included a section on taking risks in your self-published book and even said that “All in all, I’d absolutely prefer to read a risk-taking self-published novel over one that plays it safe.” While that is absolutely still true, let’s take some time to think about how that looks on the business side of things.

(On the Business of Self-Publishing: Claiming Power Over Your Novel)

Self-publication allows you complete control over the production side of your novel, which, in my opinion, provides a great opportunity to experiment and challenge your readership. That is hard to argue with on the literary side of things, but in terms of business and marketability, we might need to add a few clauses or exceptions. If your goal is to make money, you must write a book that people will pay to read. That may seem obvious, but there is a process of uncovering and recognizing what books are already out there making money and how your book fits into the established market. In my judging experience, I most commonly come across stories that have been told 10 times over. Sometimes, I find books that are so unique and not even relatively close to anything out there, yet the story is so farfetched that the relatability and believability is lost. Rarely (but it is a special moment when it happens), I pick up a book that stands alone, but operates within an established market and has been crafted towards a specific readership.

To expand upon that, a book that plays it safe often appears as something like another farmyard book for children or a fantasy book that might as well be fanfiction for Tolkien. A book that experiments too much would be one where the willing suspense of disbelief is not even possible—a great example of that would be a story of my own that I was fond of in my early undergrad days. The concept revolved around a mad scientist who was influenced by Egyptology and sought to prove that when people died in their dreams, they lost an alternative universe life and were one step closer to dying in the real world. Creative and unique? Sure. Believable or marketable? Not really.

A successfully commercial book should have an ideal audience in mind that’s proven and tested. Many will tell you that in a query letter to agents, a necessary inclusion is to list commercially successful books that are similar to yours while also explaining how your book is different from them. If your similar books are timeless classics like Catcher in the Rye or The Lion, the Witch, and The Wardrobe, you’re probably out of touch with the audience that will actually buy your book. Instead, research books that have been recently published and understand the elements that made them stand out. Then, try to see how your book fits the gap in the commercial space you’re attempting to enter.

As you maneuver this research, you’re learning about your book’s own marketability. Katy Regnery, self-published romance writer who is a New York Times and USA Today bestselling author, explains “You can make your voice stand out within your market. Everybody wants to think they have a voice, maybe they do. But your voice has to be marketable.” In this case, voice represents your idea, how you execute the idea, and whether or not you’re readable. A major aspect of realizing your “voice,” in how Regnery uses the term, comes in understanding your audience and the people who are likely to buy your book.

Ashleigh Nugent, who wrote Locks, a novel that operates deeply on the topics of racial experience and injustice, spoke about the ideas of truth and honesty being the most important reasons in why he chose to be a self-published author—but when I pressed him on the question of his target audience and who he envisioned reading his book, he smiled like someone who had been caught. “Eyes widen every time I answer that question,” he said. “My target audience is middle-class, middle-aged white women. Because, that’s the people who buy books.”

Whether or not you agree with his statement, there is a lot to be said for having a realistic understanding of who will actually spend money on your book as you write. Nugent could have easily expelled his primary readership through language use and his profound ‘honesty’ of which he is so proud, yet he did his research on the people likely to make his novel a commercial success and kept them in mind as he wrote about racial experience from his own male perspective. Regnery’s thoughts on this matter were expressed as a do or die question, “Do you want to be an artist and write your words into the void, or do you want to be a marketable author who writes words that people want to read and spend money on?”

But to write for an audience that may not perfectly understand the story you’re trying to tell might defeat the concept of power and control of self-publishing. When I expressed to Nugent that his ideas on “honesty” and marketability didn’t line up, he explained that he felt comfortable with his understanding of his ideal audience for Locks. Then he explained, “I have to be honest. I was scared the audience wouldn’t get it. It’s not as if I knew a middle-class, middle-aged white woman would get it; I hoped.” He hoped, but not in the way of a wish and prayer, but in the sense of that he gave his best effort to provide a perspective true to his idea, and still speak in a way that his target audience could relate to, according to how he had interacted with his audience already.

(How I Broke Into the Traditional Publishing World as an Indie Author)

Regardless of the demographic that you’re looking to write towards, there are many ways of relating to your audience, even before you actually begin to write. As some examples, Scott Semegran, an award-winning self-published author of eight books, believes his podcast Austin Liti Limits has been a huge part of his commercial success and allowed him to connect with his audience and grow interest in his books. Through the invitation of other authors onto his podcast, he’s able to build from their established fanbases as well as organically grow his own through connectivity and relatability. To build interest in Locks, Nugent self-produced a one-man show to present his book through a different artistic form that would attract potential readers. Regnery pursued her fanbase through social media and built a Facebook following of over 5,000 and gained 10,000 Twitter followers in the span of six months while “posting, commenting, connecting, being genuine, [and] being available” (From Katy’s Website). This process took being on social media “for about six hours a day.” I’ve also come across authors who create email lists as they’re explaining the idea of their novel to people. If they find someone interested, they’ll ask for the person’s email and add them to the list so that when the time comes to publish, they have an established audience to notify about the book’s availability.

In terms of selling your book, it’s important to understand what books are out there and what gap in the market you’re trying to fill. At the same time, try to recognize how your book speaks to your ideal audience and why your book has commercial appeal. Don’t think you have to wait until the book is published to pursue an understanding of your marketability. If you get started early, you’re claiming that independent power that self-publishing provides. Absolutely, take those risks, though make sure they’re calculated and well executed for the purpose of an intended readership.

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A book’s cover is a key marketing tool, reflecting the contents of the book. As you might guess, the typeface of your book title and other cover text (the style and appearance on the page) are just as important.

First impressions count. Even if you’re not likely to pay a lot of attention to fonts on book covers, they make the difference between a book that will be picked up and a book that looks unprofessional, cheap, or simply misleading.

This post will dive into this crucial component of a book cover. Read on to find out how to handle book cover typography — and how to make yours stand out and sell your book.

1. Match the genre

All things considered, you want the appearance of your text to convey the message you are trying to get across. Whether that’s signaling that the book is a romance, a thriller, or an informative non-fiction book, the typography is going to be a crucial element of tying it all together.

For example, for Tara Westover’s non-fiction memoir Educated, a simple serif font is used for the title, and the subtitle (‘a memoir’) and author name are sans-serif (have noembellishments at the end of letters). Many say that serif fonts look more ‘trustworthy,’ and feel modern. This is because they are simple and matter-of-fact: all moods that a non-fiction book will want to elicit.

Readers of certain genres will, consciously or unconsciously, be expecting certain things from your book cover. Fantasy book covers are often home to sweeping calligraphy-style fonts, for example. Ilana C. Myer’s Fire Dance does this subtly — the embellishments on the ‘R’ and ‘N’ signal the genre, but it is still reasonably simple and easy to read.

2. No Papyrus, no Comic Sans

A general rule of thumb: don’t use a font that comes pre-installed on MS Word. Typefaces like Comic Sans and Papyrus are instantly recognizable and will make the cover look ‘handmade.’

If there’s one that’s very close to what you’re looking for, you can build up and edit fonts with programs like InDesign to alter spacings and the length of existing letterings, or even just remove the very edge of letters.

You can find ideas and free fonts to use on sites like myfont.com and dafont.com. There are also plenty of other websites to search for where you will be able to access a variety of fonts without plagiarising (and also without spending dozens of dollars).

3. Less is more

An effective approach can be to make typography the focus of your cover, or the only visual element. Playing with minimalism, space, and letter spacing is often an interesting way to make the absence of image or text just as effective as filling the cover. Dolly Alderton’s cover design is literally just the title, but it playfully hints at the narrative voice you’ll find within.

Particularly, conjunctions like ‘and,’ ‘the,’ or, ‘of the,’ can interact inventively with your background image or illustration, like in this novel by Tsh Oxenreider. The ‘less important’ words are made significantly smaller, which foregrounds the confusing pairing of ‘home’ and ‘world’ — central to the book’s idea of finding a home and belonging while travelling all over the globe.

Remember that you don’t have to use the same font for everything. However, don’t use more than, say, two or three, depending on if you have a subtitle, or reviews, etc — it will look messy and confusing.

And if you think you might have a potential series on your hands, aim for a simpler design. They are more transferable, and easier to be manipulated further down the line.

Having said all that, your title does need to be big! There are debates as to whether it should be legible in thumbnail form, but it certainly needs to be the focus of the cover.

4. Words are pictures, too

When your creativity is completely set free, your typography may end up looking like an image in and of itself.

Thinking of your imagery and typography as overlapping working parts can give you space for visual puns (like the small bombs on Karan Mahajan’s cover), hint at the characters or plot of the book, or even just allow you to exercise some creative license.

If your lettering is large and simple, it also adds character and room for some fun ideas. David Nicholls’ Us, similar to the design of some of his earlier novels, plays with this idea by having figures hang from and walk along the lettering of the title itself.

5. Consider the visual hierarchy

An awareness of the visual hierarchy of your text will make your book cover look professional and easy to navigate. Readers will assume what is important by the weight and size of the lettering, and you can direct their gazes accordingly.

The title, the author name, and (if applicable) your subtitle should be easily identifiable. Lisa Manterfield’s book cover strikes a balance between title and author name. It also follows the golden rule: if in doubt, keep it simple.

Natural contrast (light text on a dark background, for example) is a seamless way to highlight and make clear the information that you want your reader to receive.

What you’re seeking is balance: a delicate chemistry between image, text, and other information. Simply put, if your image is super busy, keep the type simple. But if you’ve got a large chunk of text that needs to go on the front cover, keep the imagery pared back.

The crux of typography on book covers is the potential to maximize the impact of your book title, and your book cover as a whole. When done well, it is an effective tool to utilize in order to give your book the best chance on the shelves, and hopefully you now have the tools to do just that.

This content was contributed by Reedsy and includes one or more affiliate links for their products and/or services. Writer’s Digest participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products and services purchased through our links to retailer and partner sites.

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