Tag: publishing

Interview with Katlyn Duncan Author of TAKE BACK YOUR BOOK

August 30, 2021 / Katie L. Carroll

I’m very excited to host my amazing critique partner Katlyn Duncan today to talk about her latest release TAKE BACK Y OUR BOOK: AN AUTHOR’S GUIDE TO RIGHTS REVERSION AND PUBLISHING ON YOUR TERMS. Katlyn is the author of many YA and adult works of fiction and this is her first work of non-fiction. It’s so full of relevant information about the business of publishing and rights reversion, and I think any author or aspiring author will feel empowered after reading it. Welcome, Katlyn!

The inspiration behind a book is frequently talked about when writing fiction, but there’s often an interesting inspiration story behind non-fiction. What gave you the idea for TAKE BACK YOUR BOOK: AN AUTHOR’S GUIDE TO RIGHTS REVERSION AND PUBLISHING ON YOUR TERMS?

When the book rights for my debut Young Adult paranormal series (The Life After series) reverted to me in 2019, I immediately looked online to see what I should do with the book. But there weren’t many recent articles about what to do after book rights reversion. I had to do a lot of research myself, which was mostly scouring writer groups and working my network to find other writers who had their book rights reverted. For those authors, all of their stories were different, which helped me understand that I had to make a lot of decisions on my own.

One day, you and I were discussing self-publishing, and the idea came so quickly to me. There weren’t any resources out there about the process of rights reversion all the way through re-publishing the book, so I wrote it myself hoping to help any authors who are or will be in the same position.

Let’s turn the inspiration to you! What made you want to become a writer?

Storytelling has always been a huge part of my life. As a kid, I loved drama class and acting in plays while devouring movies as much as I could. Eventually, that stemmed into penning my own plays and movie scripts (which will never see the light of day, by the way!). Then when I was in my early twenties, I started to write fiction novels and I haven’t stopped since.

What’s one book you wish you had written? And (of course) why?

Can I say ‘Twilight’? I wouldn’t mind living in Stephenie Meyer’s shoes right now with the ability to auto sell anything I write and take all those lofty advances to the bank.

I think we’d all say yes to Stephenie Meyer’s advances! You write both fiction and non-fiction. How was writing TAKE BACK YOUR BOOK different from writing your fiction projects?

There are a few ways it was different. First, I had to do a lot of research for this book, more than I have for any of my fiction novels. Previously, I had saved some articles from when I was going through the book rights reversion process, but there was so much more to outline for the reader. I had to make sure that I listed as many options for a reverted book as possible, which meant exploring as many publishing paths as I could, along with outlining the self-publishing process from start to finish, and beyond to marketing and future plans for the book.

Second, writing a non-fiction “arc” is much different than a fiction one. You have to structure the book in a way that is compelling and makes sense as its own type of story while allowing author voice to shine through instead of a character’s voice.

Obviously TAKE BACK YOUR BOOK is full of advice for authors, but what’s one important takeaway you’d like to leave readers with today?

Regarding book rights, make sure you understand what you are signing away and how long your rights will be in someone else’s hands. This is where community is very important. Ask fellow authors in both the “traditional” and self-publishing spheres and find where your book belongs before you put pen to paper and sign any contract.

It’s so important to understand what is in a publishing contract before you sign. One last thing, what is next for you in your writing career?

I’ve completely veered away from traditional publishing and diving head-first into self-publishing. I’m re-publishing my debut YA series under a new pen name (Katy Duncan), starting with ‘Soul Taken’ in September 2021, followed soon after by book 2 (‘Soul Possessed’) and book 3 (‘Soul Betrayed’) in 2022, in addition to publishing adult thrillers after that.

TAKE BACK YOUR BOOK blurb:

Revive your book from the bottom of the charts with rights reversion.

Have you sold your book to a publisher, but years later it’s not selling the way you want? Are you frustrated with their lack of marketing and little to no royalty payments?

It’s time to take back your book rights.

This guide will give you the knowledge and confidence to get your book rights reverted and how to place it in front of new readers, on your terms.

In this book you’ll find:

The basics of rights reversion
What to do with your book after reversion
How to re-publish your book
Long-term considerations for your author business and backlist
Stories from authors successfully reverting and republishing their books

You will always be your book’s biggest champion. Don’t condemn it to years of neglect at someone else’s hands. Take back your rights and make them work for you for years to come.

Buy the book on Amazon, Apple Books, Barnes & Noble, Kobo, and these other book retailers.

About the Author:

Katlyn Duncan is a multi-published hybrid author of adult and young adult fiction and has ghostwritten over forty novels for children and adults.

When she’s not writing, she’s obsessing over many (many) television series’, and hanging out on YouTube where she shares her writing process and all the bookish things.

Find her at katlynduncan.com, YouTube, and Instagram.

Defining My Author Theme Courtesy of #LA18SCBWI and Libba Bray

August 14, 2018 / Katie L. Carroll

I purposefully didn’t title this piece with the words “author brand” because there are important distinctions between a brand and what I’m talking about here (and calling my “author theme”), and also because I don’t want to anger Libba Bray! But let me back up for a second and give you the all-important context.

I recently attended the SCBWI conference in L.A. where there were some amazing keynotes (and there were a whole lot of keynotes at this conference). The brilliant YA novelist Libba Bray gave her keynote on Saturday afternoon. As a conference attendee, I was buzzing with inspiration from the previous day and a half but not overloaded and exhausted like I was pretty much all of Sunday.

Libba discussed something that is on the mind of any writer who is tuned into the business and marketing side of publishing: author branding! I’ve been trying to come up with a snappy definition of an author brand, but it’s kind of making me woozy thinking about it, so I Googled it instead. Here are the links to the first couple of articles that pop up “How To Build Your Author Brand From Scratch (And Why You Need To)” and “7 Best Ways To Build An Authentic Author Brand.”

The bottom line is that most authors feel the pressure to have a brand, but it feels icky to figure out what that is and how to create one that is effective in selling ourselves. And selling yourself is all so counterintuitive to the creative process and to being authentic to an artistic goal rather than a monetary one. Blech!

Libba articulated this phenomenon so well when she framed it as a question vs. an answer. She said that writing is about wanting to know something. This question is what makes your story come alive. The question leads us from somewhere we know to something new. The question leads to change. On the other hand, branding is advertising, and it’s all about answers. Brands are static by nature, and it puts us in a position to view kids as consumers instead of as growing, learning young humans. (No direct quotes because I tend to not worry about getting direct quotes while taking notes during conferences. Check out the SCBWI Conference Blog for a great overview of not only Libba’s keynote but the whole conference.)

Libba ended with the thought that if anyone asks about your brand, say that it’s a commitment to craft and a deep respect for my audience. This thought–and the whole keynote really–sparked an idea of what I’m all about as an author of books for young people. I’m not calling it a brand because yuck, hence the term I use in the title of this post “author theme.” Where a brand would be about selling myself or my books, my author theme is about what I think I bring to the table as a creator, writer, teacher, and human being.

I know authors who essentially say all their writings–no matter what form, genre, or intended audience–come back to some central theme or idea. I’ve always struggled to come up with any one thing that ties all my work together, never mind one thing that ties together who I am with my work. The spark that came to me during this keynote pulled together my writing, my talks about writing and the creative process, and my philosophy on life in a way that I had never been able to do.

Now that I’ve thought of it, it seems painfully obvious that this is what I’ve been writing about and thinking about. It ties in the ubiquitousness of my sister’s death with my career. It’s the thing I’ve been inscribing in ELIXIR BOUND when I sign copies for readers. (Are you screaming at the screen yet for me to just tell you already?!) Alright, alright…here it is in all it’s simple glory:

Find Your Magic.

That’s it. It’s as simple as that. My sister’s death helped me see the thing I was supposed to be doing in this world, the magic of writing for kids and teens. It’s the thing I try to bring to kids when I talk to them at book events and school visits. I know they won’t all grow up aspiring to be writers (though I always emphasize the importance of having the skills of being an effective reader and writer), but I want them all to pursue, in some way, the thing that feels like magic to them. It’s the thing my characters are always trying to find as well, their magic. And it’s kind of been there all along, staring me in the face. I was finally able to see it and grasp on to it.

Find Your Magic.

As simple as it seems, it’s not always simple to do it, to live it. You have to first figure out what your magic is, which is no easy feat. It took me 20+ years of life and a major life event to figure it out myself. Then once you do know what your magic is, you have to figure out how to pursue it while also, ya know, feeding, clothing, housing yourself and any independents.

But when you can figure out a way to actually do it (even if it’s not the way you make your living), when you actually find your magic and live your magic. Wow, that’s some pretty amazing stuff.

August #InkRipples: Options in Publishing – What’s Your Path?

August 7, 2017 / Katie L. Carroll

When it comes to publishing a book, there are so many more options than there used to be. If you’re new to the business, it can be downright overwhelming and confusing to decide what publishing path is the right one for you. That is why we decided to tackle the topic in this month’s #InkRipples.

Traditional Publishing – For my intents and purposes, when I’m referring to traditional publishing, I mean a publishing house that offers advances to their authors and their books come out in print simultaneously with their ebooks (for the most part, though you may find imprints within the publishing house that deviates from this). Some publishers that don’t meet these criteria might call themselves “traditional publishers,” but I’m going to put those in another category.

Big 5 – Formerly the Big 6 publishing houses, when Penguin and Random House merged back in 2013, the largest 6 publishing houses became 5. So the big 5 are now Hachette Book Group, HarperCollins, Macmillan, Simon & Schuster, and Penguin Random House. These are the largest 5 publishing houses, the heavy hitters, what many authors consider the gold-standard of publishing. They each have many branches, called imprints, that specialize in certain areas of publishing. They have the ability to offer big advances for books they think will make them lots of money; they have big budgets to market and publicize those books; and they have large, influential distribution channels.
Medium to Small Traditional Publishers – These publishing houses are smaller than the Big 5, but they are well-known and well-respected in the industry and they have the ability to offer advances and print and ebooks release simultaneously. Sourcebooks and Charlesbridge are good examples of these smaller traditional publishers.

~Pros and Cons of Traditional Publishers – The big advantage to going with a traditional publisher is the influence they have. Your books will likely be in all the major bookstores and easily available. You’ll also have a full editorial staff to support you in making the book the best it can be and hopefully at least a small marketing push made by the publisher. There is a certain legitimacy that many still feel about traditional publishing that you won’t find with the other paths of publishing (not that this is my personal feeling, but I will admit that a stigma exists for those who chose a different publishing path). You as an author also have no monetary investment in the process of making the book when you traditionally publish.

A disadvantage is that you might end up being a small fish in a big pond. If your book isn’t of their heavy-hitters for that publishing season, it might get little attention or push from the publisher. The fact is, no matter what publishing path you chose, unless you’re a big-name author, you probably will have to do much of the marketing yourself. And if your book doesn’t sell well (the definition of a well-selling book will vary greatly depending on your situation), it might have a short self-life. It’s also really hard to break into traditional publishing, and you usually need an agent to submit to these publishers.

Hybrid Publishers – This is an emerging term in the publishing industry and may mean different things to different people. Basically what I mean by a hybrid publishers is a publisher that exists in the space between traditional and self-publishing. They may be a digital only publisher or a digital first one (where select titles come out in print only after the ebook is released), as is the case with the publisher of my YA fantasy ELIXIR BOUND, MuseItUp Publishing. They usually offer royalty-only payments with no advances. Some of the Big 5 houses have imprints that operate this way.

~Pros and Cons of Hybrid Publishers – Hybrid publishers often have long backlists that don’t get pulled because of slow sales because there is less investment up front. Generally, like traditional publishing, you as an author don’t have to put your own money into anything (until it comes to any marketing you opt to invent in), as the editing, cover art, and production of the book is handled by the publisher.

Without an advance, though, the author has to rely on royalties for payment, which can be slow in coming. Sales may also be low because hybrid publishers don’t have the clout and distribution channels of of traditional publishers. If you do have a print book, it may or may not end up on the bookshelves at bookstores.

Self-publishers – When you decide to do it all yourself and skip working with a publishing house all together, that is self-publishing. You, the author, are your own publisher. You may decide to create your own publishing company so you have a publisher’s name associated with your book and for tax purposes (as I did with PIRATE ISLAND), but it’s still self-published.

~Pros and Cons of Self-Publishing – The main pro and con of self-publishing is pretty much the same thing: you have all the control! That’s a good thing in some ways because you make all the decisions for your book and you reap all the benefits (except for what your distributing partners take). But that also means you have to make a ton of decisions and you have to be informed about all the aspects of creating a book. It’s a big learning curve, but it’s also wonderfully freeing to self-publish. You also have to put up your own money for any services (editing, cover, formatting, etc…) that you don’t decide to do on your own. And you should definitely hire out for those areas you need help. Even a great self-editor should no solely rely on their own editing skills for editing a book your going to self-publish.

*Note on Vanity Publishers – Vanity presses are where authors pay to have their books published. These are not really publishing houses in a sense that they don’t have an acquisitions process. If they do offer any kind of editing or cover services, it’s usually for an additional fee. Honestly, most vanity presses are scams, overcharging authors and giving them very little in return. These should not be confused with reputable, professional editing or formatting services that charge a fee for help with editing or formatting for authors who are interested in self-publishing or going through a round of professional editing before submitting to agents or publishing houses.

What types of publishing have you tried? How has it worked out for you?

#InkRipples is a monthly meme created by Katie L. Carroll, Mary Waibel, and Kai Strand. We pick a topic (August is all about options in publishing), drop a ripple in the inkwell (i.e. write about it on our blogs), and see where the conversation goes. We’d love to have you join in the conversation on your own blogs or on your social media page. Full details and each month’s topic can be found on my #InkRipples page.

Thoughts on the New England SCBWI 2015 Conference

April 29, 2015 / Katie L. Carroll

First of all a big thank you to all the wonderful coordinators, volunteers, faculty, and attendees who made #NESCBWI15 (the New England SCBWI 2015 conference) unforgettable! A special thank you to my workshop attendees for spending an hour or two of your life with me. So many wonderful moments!

For those of you who took my “Something Borrowed, Something New: Mining Myths, Legends, and Fairy Tales to Write Fantasy” workshop, here is the Workshop Handout ready for download as a PDF. Anyone who didn’t take the workshop is welcome to check it out as well. It has a ton of great quotes from fantasy writers about their inspirations.

I’m still recovering from all the excitement. Unlike many writers, I’m not an introvert, but conferences are so mentally demanding, it still takes a lot out of me. It was my first big conference on faculty, and even though I only attended two of the three days, it was a whirlwind, and I’ve been exhausted ever since. And also chomping at the bit to get back into my WIP.

The thing about being a faculty member is that when people talk to you, they expect you to have intelligent, thoughtful things to say. It adds a whole new layer of responsibility, one I was happy to take up, but also a little (a lot!) nervous about. I had lots of wonderful writers come up to me after my workshops and thank me, so at least I can say I didn’t fall flat on my face. (Though really, who is going to come up to you and be like, “Your workshop sucked!) I’m sure I had plenty of not so intelligent words came out of my mouth as well, but overall I’d say it was a successful endeavor.

My biggest fish out of water moment came when I walked into the faculty dinner on Friday night, came up to a partially full table, and asked if there was an open seat. There was, and boy was I lucky for it! Turns out the table was full of agents and editors and one lowly author (me!). The conversations were varied (everything from the mundane topic of camping to the more scandalous one of incest books) and it was great fun to observe the more relaxed side of publishing professionals.

My favorite moments were definitely talking to other creative people. Whether we only had a moment or two to chat (which was the case with many people I talked to because my schedule was so jam-packed) or a more in depth conversation, I was just wowed by the sincerity and dedication of everyone I encountered. The weekend devoted solely to being immersed in the writerly world has done wonders for my own literary soul.

I have lots of great gems of wisdom from the conference (even a few of my own!) and some terrible pictures that I’ll be sharing next week. In the meantime, I’ll be catching up on sleep and writing, writing, writing.

Confessions of an Author: Rejection

February 8, 2013 / Katie L. Carroll

Confession #4: Rejection might be the one thing that makes me quit this whole business of publishing.

Rejection. It’s something every author faces time and time again. It’s fear inducing, debilitating, soul sucking.

I think for most authors the writing journey begins in a blissful place. Inspiration strikes. You decide, I’m a writer…or at the very least, I’m going to write something worthy of publication. You write, and write, and write. Probably a lot of bad stuff, but you’re not aware of how bad it is; in your blissful ignorance, you keep going. Maybe even stumble upon some good writing.

You begin sending your work out, probably before it’s really ready for mass consumption. But again, you’re ignorance keeps a buffer around you. Publishers reject you. No worries! They don’t know what they’re doing; they just passed up on the next J.K. Rowling. They’ll regret it one day. Maybe one rejection has some encouraging words. That’s the thing you latch on to. The ego of the innocent feeds off of it.

Then reality hits. You realize, maybe my work’s not that good. I need to actually…ahem…revise! Those people who rejected you might actually know what they’re talking about. Still, you persevere. Okay, rookie mistakes. Buck up and keep improving.

You work, work, work at creating, honing, revising. Your writing benefits from all the hard work. Maybe you join a critique group, get some positive feedback and productive criticism. You begin to thrive as a creative person. You feel like your work is actually ready for mass consumption…and just maybe others will think so too.

With your improved knowledge of writing, you realize it’s a good idea to study up on the business side of publishing as well. You learn how to write an effective query, target your submissions, what your looking for in an editor or agent. You check and double check that you’ve spelled all the names right, that the grammar in your letter is perfect, you have the right sample pages included. You hit send (or if you’re doing it the old-school way, apply the correct postage).

Now comes the waiting. The incessant checking of emails/mailboxes. The nail-biting. Commiserating with writer friends over the process of having stuff out there. Then the rejections start rolling in. You try to focus on a new project. Keep your mind off the hole your email inbox is burning in you brain.

Your stomach is in a constant state of queasiness. You starve yourself, too sick to eat, and then gorge yourself on chocolate and caffeine. More rejections roll in. Time limits pass, and you get rejected by query expiration date, no reply required.

Sure a lot of good stuff happens along the way. Meeting other writers, forming great working relationships and personal ones you keep forever. A few close calls with a dream agent or editor. But there’s still so much rejection.

Even if you land a publishing contract, it might not be what you were always hoping for. You sign with a small press or decide to self-publish or get a low advance. Maybe you did land a great contract, but then the big reviewers don’t like your book or ignored it all together. Maybe your sales fall short of expectations; you don’t reach as many readers as you hoped. Your option book doesn’t get picked up.

Rejection, rejection, rejection. The old death by a million paper cuts (and you don’t even use real paper to write anymore!). And it hurts. Gives you days where you’re not sure if you can keep going, deluding yourself into thinking you can make it as a writer. Keeps you from revising because it’s just going to be crap anyway, no matter how much you work at it.

I guess a lot of writers don’t even make it to this point. They gave up back a handful of paragraphs ago after the first rejections. What keeps you going? Your love of a character, the way you can escape into a world you’ve created, an insatiable need to succeed, the fact that you’re a glutton for punishment.

Whatever it is, you keep going. Right…it’s worth it to keep going? The punch in the stomach with that email that sends you into a downward spiral. “Thanks for thinking of us, but we’re going to have to pass on that manuscript you’ve spend months, years, decades working on. The one that you poured your soul into. The one that has blood marks on it from where your heart leaked all over it. Yup, that one. It’s not good enough for us. Don’t worry, publishing is a subjective business. It’s not personal.”

Yet every single one of those rejections is personal to you. The story you wrote is deeply personal. You maybe even put more work into that than you did into your own life.

So what do you do when you’ve traveled down every single path you could find and came up with dead ends? Well, I guess you start over. Get a spark of inspiration. Feel the tingle of a new story…of hope…in your fingertips. And you do it all over again. Right, you do it all over again. You’re a writer. That’s what you do.

What kinds of rejections have you faced in your writing career? And what keeps you going back for more?