The 10 Biggest Mistakes New Authors Make

 

I have to preface this post by noting how easy it is to make mistakes when you’re on the road to becoming a published author. This is an emotional journey, and ego can sometimes get in the way. Then there’s the many details you must hold, which even publishers get wrong from time to time. I’ve experienced firsthand the pain of a few or more projects that went to print with pretty egregious problems. And it hurts. Sometimes entire print runs are destroyed as a result. These top 10 mistakes are among the most common I see in my work with authors. Some are about mindset and others are more technical oversights. If you’ve made any of these mistakes, you’re in good company. The best we can do is learn, and spread the word so others take heed.

1. Believing what they want to hear.

This one’s tough to begin with, but writers need to hear it. Many authors get derailed from their projects or coaxed into doing something with their books that goes against their better judgment. This can happen with traditional publishing when an agent or editor tells you to change your project because they’re sure they can sell your book. It happens with subsidy publishing companies that try to sell you all sorts of stuff you don’t need. At this stage of the game, as hard as it might be, it’s time to start to treat your book like a product, not a baby. Having too much emotional attachment can lead to problems.

2. Not taking advantage of every available digital platform.

A lot of authors decide to publish their e-book right out of the gate with Kindle Select, forgoing opportunities to publish on Nook and other digital platforms because they figure all that really matters is Amazon. This is a lost opportunity. If you’re publishing traditionally, this one won’t apply to you, but no matter how you publish your e-book, publish widely. Especially now, when plenty of readers are choosing not to buy from Amazon.

3. Deciding that they don’t need a marketing campaign, or starting one too late.

Marketing starts way before your book is published. Many new authors decide they’re not going to market their book, until their book comes out and nothing is happening. It’s not selling and they don’t know what to do. Then they try to hire a publicist, but it’s generally too late. I’ve worked with a number of women who’ve had to come around to the idea that they are worthy of spending money on a marketing campaign. These are extra dollars, and the psychological barrier can be high, but really all authors in this day and age — self- or traditionally published — should hire a book publicist.

4. Believing that more is better.

More is not always better, and you want to be careful about what you’re signing on for. Many subsidy publishers, for instance, offer publishing packages that include a host of items, which sometimes sound so impressive that you feel like you’re getting A lot for your money. However, things like your Library of Congress number, your ISBN, or filing your copyright are services that cost the publisher next to nothing. Be wary. I’ve seen subsidy publishers offering things like book trailers, postcards, and even trips to Book Expo in New York to the tune of thousands of dollars. Don’t get stars in your eyes. Use your money wisely and shop around.

5. Going renegade.

This is easy to do. Many authors go renegade because they’re trying to save money. They feel that they’ll “figure it out” as they make their way through the publishing process. I assure you that going renegade will cost you in the long run. Invest in a single consultation with an expert to better understand your options and what makes sense for you. Be realistic about how much you actually understand about publishing. You don’t have to reinvent the wheel. Don’t overspend for no good reason (point #4), but don’t skimp on getting necessary help, either.

6. Not doing enough research on who they’re publishing with.

Many authors just follow ads to a certain publishing solution and stop there. It’s important to do due diligence and research. There are thousands of posts online about the difference between CreateSpace and Ingram Spark, for instance. There are a whole host of partnership publishers (like She Writes Press, Turning Stone Press, and Inkshares) popping up all over the place. Many of them are mission-driven and operate totally outside of the traditional or self-publishing model. Ask for references, and make sure you feel good about the company you’re going to be doing business with. You might also want to check the author-advocate site Editors & Predators just to see what’s what.

7. Believing that “traditional” is better, no matter what.

This mindset will limit your publishing opportunities. I’ve seen authors languish for years (literally) in the space of trying to find an agent or waiting for an agent to secure a publishing deal. Traditional publishing is also suffering in two distinct ways: the barriers to entry are so high that it’s alienating its base; and it’s so focused on author platform and “big books” that it’s losing relevance fast. Many more authors than ever before are opting out of traditional publishing for more control and better profit margins on their sales. It’s cool to aspire to traditionally publish, but if you’re not getting bites, don’t let your book die on the shelf just because you harbor some sort of judgment about alternative publishing paths.

8. Failing to get sample product.

If you’re going to publish with a hybrid or partnership press, or even if you’re going to print your self-published book with CreateSpace or Ingram Spark, get samples! If the company won’t provide them for free, invest the $10 to order one of its books from Amazon. You want to see how the books look and feel. Most authors I work with do not ask for samples, and this is putting a lot of faith into the hands of a company that’s producing something so important to you.

9. Not hiring professionals.

A lot of self-published authors skimp on editorial and production, but it’s such a bad mistake. Every book should be copyedited and proofread — ideally more than once. There are so many elements to track when it comes to book design, and it’s incredibly easy to make mistakes. Over the course of my career as an editor and publisher I’ve seen all the many mistakes that get caught post-production, and this is with a professional team working on books. Things like running heads, pagination, tables of contents aligned with chapter titles and page numbers — the list goes on and on. Have someone who knows what they’re doing review your laid-out pages too. It’s crucial to review, review, and review again prior to printing your book.

10. Choosing a print run over print-on-demand (POD).

Some authors should get a print run, but most should not. Unless you absolutely know you can sell 1,000 copies within the first year of publication, don’t get a print run. And brace yourself for the fact that selling this many copies is a lot harder to do than you might think. Too many authors naively believe that they will easily sell thousands of copies. I’d urge you to start to consider that selling 1,000 copies as a self-published author constitutes a success. Many of your sales, you must remember, will be e-books. POD is awesome because you only pay for what you sell, so, for the vast majority of you, POD is a smart business decision.

Ready to start your publishing journey? Our team at SOI Publishing can help you make the best publishing decisions. Talk to us. Let's make your book the next bestseller.

 

Culled from Huff Post

7 Common Mistakes Made by Novice Novelists

 

Professional writers of all stripes will agree that writing is both easy and hard. For novelists, the challenge exceeds composing well-written content. Agents reject flawed work. It is better to create a less mistake-riddled work given the high rate of rejection by agents.

Novice novelists make a number of common mistakes. Weed out these weaknesses while drafting the novel. Keep in mind the following common mistakes made by inexperienced writers.

1. An Undistinguished Manuscript

To get out of the slush pile, the novel needs to have a concept, an angle, or a pitch that is outstanding. Think big. Develop an aspect of the novel that makes it fresh, even if you are writing for a genre in which readers expect to see certain elements in their books. If your manuscript is good, but not good enough, do not be surprised by a rejection letter.

2. Extreme or Inefficient Language or Cliché-Riddled Writing

Strong language is useful, when used with discretion. Overuse is off-putting. Make every sentence economical; make your words count. Excessive verbiage is dead weight that hampers the reader you want to impress. Descriptive language or content that is too familiar is a cliché. Keep that in mind, and you will see that agents and editors will appreciate your efforts.

3. Absent or Bland Descriptions

Readers enjoy being transported into a different world. Provide a context and setting that will engage readers.

4. Pretty Prose, Lack of Clarity, or a Literary Writing Fail

Showy language overwhelms content because the disruptive power of pretty prose impedes the flow of the narrative. Optimally, prose clearly and economically conveys meaning. Be aware that sloppy prose may signal sloppy thinking. If you aspire to write literary fiction, competence is insufficient. Literary fiction must be well written.

5. Pointless Detail and/or Distracting Research

Avoid unnecessary details to keep the reader interested. Even if you have done extensive research about the background setting of your fiction, do not smother the narrative with facts. This also applies to information about location and scenery. You are writing fiction, not a travelogue.

6. Plots, Character, and Conflict Weaknesses

Is the plot discernible? Your manuscript should not be a sequence of events affecting your characters or have bland, non-relatable characters. Add depth to your characters with insights into their inner lives or background stories. The backstory provides more information about the character. It can even just hint at the inner motivations of the character.

7. Dialogue and Pacing Weaknesses

Believable dialogue can be challenging for first-time novelists. Read each character’s dialogue to catch inconsistencies. Stick to the same points of view in a scene. Handle the transition from one character to the next carefully in a scene. Uneven pacing makes the narrative disjointed and could turn off readers.

Writing a novel is a major undertaking. The next challenge is to get past the slush pile. Avoid common mistakes to create an outstanding first novel that launches your writing career.

Culled from AIPWE