6 tips for aspiring indie authors

10/11/2021

Here are 6 tips that will help emerging indie authors make informed decisions about their editing and writing process during NaNoWriMo (National Novel Writing Month) and beyond.

1. Understand the different types of editing

Regardless of whether an author’s doing their own editing or working with someone like me, I always advise them to make sure they understand the different levels of editing and the order of play.

The first draft of a book is unlikely to be ready for proofreading. Instead, focus on structure first – so how the story hangs together as a whole.

Next comes stylistic line work that focuses on the flow and rhythm of prose.

Copyediting comes after that. This is the more technical side of the work that looks at consistency and clarity.

Only then is it time for the quality-control stage: proofreading.

Writers who want to know more can watch a video, listen to a podcast episode or download a booklet.

2. Top tools and methods for writers on a budget

To make the most of your budget, focus on the five Cs:

community
content
craft books
courses
conscious language

Community
Take a look at the Alliance of Independent Authors (ALLi) and the Society of Authors. They’re two fine examples of organizations who are dedicated to supporting writers at different stages of their journey.

Membership includes access to free and affordable paid-for events and resources. But they offer something else that’s incredibly valuable too – a network of like-minded people.

Trying to make your mark in the publishing world can feel overwhelming, so being able to get advice and inspiration from others on the same journey is priceless.

Content
There’s a ton of useful – and free – guidance about the craft of writing online, so it’s worth budget-sensitive writers spending time digging around in the search engines. However, those interested in sentence-level guidance can visit my resource library as a first port of call.

I also recommend The Creative Penn, a superb knowledge bank through which Joanna Penn guides aspiring authors on how to write, how to get their books published and how to make their work visible. I love Joanna’s genuine and approachable teaching style, and how she makes self-publishing accessible to everyone.

Craft books
Books are the most affordable way I know of accessing high-quality guidance. There are lots – too many to mention here – but I recommend fiction writers start with The Magic of Fiction by Beth Hill because it pays attention to structure and helps writers create a great first draft.

My own Editing Fiction at Sentence Level focuses on line craft that helps writers refine the flow, rhythm, mood, voice and style of their prose.

For non-fiction writers, Andy Maslen’s Write to Sell is an excellent tool for any content creator who wants to craft a compelling message, something that’s critical for authors when they’re promoting their books.

And Joanna Penn’s How to Write Non-Fiction takes authors step by step through the whole book-creation process – from mindset to marketing and everything else in between.

Courses
Love learning at your own pace? Online courses are an affordable and convenient way to study in a multimedia environment.

There are lots to choose from. For starters, take a look at Joanna Penn’s business-focused author courses, and for craft-based tuition for fiction, try Narrative Distance: A Toolbox for Writers and Editors and Preparing Your Book for Submission, two courses from my own training stable.

The National Writing Centre also offers online training that aims to build authors’ confidence. Some of their courses are even free. The NWC also partners with the University of East Anglia to provide more in-depth premium creative-writing courses that come with tutor support.

Conscious language
Anyone who’s aware of the events surrounding Kate Clanchy’s Some Kids I Taught and What They Taught Me will understand the importance of reviewing their work through the lens of representation.

I’m not for a minute suggesting that a work of fiction or non-fiction has to follow a set of prescribed ‘rules’ about what can or can’t be written, but rather that writing means applying the same mindfulness to the words we put on a page as those that come out of our mouths.

When we write, we’re building a relationship with our readers, even though we don’t know who most of them are. And so consciously considering whether our words are helping or harming is just good human practice – one that means our books function as we intend them to, whether that’s to teach or to entertain.

For authors who want a little more guidance on this, I have a free booklet on inclusive and respectful writing. It doesn’t prescribe, just helps writers make informed decisions.

3. Manage your first draft appropriately

The first draft isn’t usually something that should be sent to an editor. More often, the first draft is where the author lays down the story just as it comes.

Once that’s done, put the book away – just let it sit for a while – then revisit it and decide what’s working and what isn’t, what needs refining, amplifying or deleting.
Perhaps follow Sophie Hannah and Jeffery Deaver’s lead and create detailed outlines that help keep you on track even at first-draft stage. You can read more about Hannah’s method in ‘Why and how I plan my novels’.

If you do decide to work with an editor, invest time in finding someone who’s a great fit for you: someone who gets you and is engaged with what you’re doing with your writing.

That person should also be offering the right level of editing (see 1. Understand the different types of editing).

And tell them if you’re nervous about being edited; it’s perfectly normal to feel that way. Just bear in mind that they’re on your side and are working for you, for your book and for your reader!

4. Understand the difference between style, convention and peevery

I'm sometimes asked: 'What’s your biggest writing pet peeve as an editor?' My answer is: There’s no room for pet peeves in professional editing – or at least there shouldn’t be.

Do I have preferences? I do – everyone does – but that’s all they are and they have no business in the work that editors do for their clients. Our job is to focus on a client’s goals, the world of their story, and the readers who’ll come along for the journey.

There are stylistic and grammatical conventions in writing, and a professional editor should understand those and be mindful of them, but editing requires a malleable mindset that respects voice and rhythm as much as anything else.

It’s about sense and sensibility, not prescriptivism and pedantry.

Listen right here to this collection of episodes from The Editing Podcast on language, grammar and style:

5. Recognize the pros and cons of being your own publisher

The main advantage of being an indie author is that you get to control everything.

The main disadvantage is … you get to control everything!

You’re the publisher as well as the writer, which means you decide which books to write and publish, what the cover will look like, which levels of editorial help to commission, which channels to distribute your book through, what the price will be, what formats the book will be available in, and how your promotion strategy will play out.

That’s a lot of work – work that costs you time and money. Publishers will do some of it for you. Still, that will come at a cost because you’ll be taking a royalty that’s likely lower than the return from selling direct.

Being your own publisher isn’t everyone’s wheelhouse, but for those who want to be in control, there’s never been a better time to wear that hat because of all the technical solutions available to authors.

Any writer can use Amazon. It’s the biggest bookstore on the planet. But you might want to sell direct via your website, too, because that’s your very own shop window.

Platforms like Payhip and BookFunnel have made that possible, and it’s made it easy … not just for you but for your customers too.

And for authors who are not only writing but also teaching about writing, there are multiple platforms that support that too – LearnDash (Wordpress plugin), LearnWorlds and Teachable for example.

6. Take control of cramped and communal work spaces

Having a dedicated work space means you're not shifting two large monitors and a hard drive off the dinner table every evening. For those working from home, having a place where your business ‘lives’ helps you separate writing from family life.

I realize that everyone’s situation is different, but I hope at least one of the following tips will speak to anyone trying to carve out a dedicated work space.

Agree boundaries in shared spaces: Decide which part is yours and which is theirs, and respect that.

Create boundaries in multifunctional spaces: Some writers have to work in a bedroom, kitchen or living room. If there’s enough space, fence off a corner with a panelled room divider. These can be pricey so an alternative is to install a rail and fashion a curtain from an old duvet cover or sheet.

Use mobile desks in cramped spaces: Mobile desks are readily available online and are priced competitively so that even writers on a smaller budget can house a monitor, keyboard, mouse and hard drive. Complement with a storage trolley for your books and stationery. Wheel the whole lot into another room when required!

Summing up

There’s a lot to think about when you decide to become your own publisher – not just what you write but also who supports you during that process, the ways you’ll invest in developing your craft and how to manage the space in which your books are written.

You’re not alone. There’s a ton of help available to help you … whatever your budget and whatever subject or genre you’re writing in. These 6 tips barely scratch the surface, but I hope they at least inspire you to take the next steps of your indie-author journey with confidence.

About Louise Harnby

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.