Blog

PUBLICATION: “Northangered” on Wattpad

PUBLICATION: “Northangered” on Wattpad

I wrote this novel nearly a decade ago, and after spending almost a year revising it in secret, it’s now ready to share with all of you. This isn’t one of the books that I’m planning to publish, so I’m sharing it exclusively through Wattpad for the time being.

If you don’t have a Wattpad account, the platform is free to use. You can sign up here.

Kit Morland is not the kind of girl you’d write about. She’s sort of plain, prefers books over pretty much anything else, has aspirations of publishing a novel one day, and the only kind of boycrazy she is involves fanfiction. So when Kit is given the opportunity to travel to the cult film festival Bath: The Indie Movie Expo with her wealthy aunt Mags, she’s thrilled. It’s about time she went on an adventure of her own, instead of just reading about them.

Maybe she’ll meet some of her idols in the flesh! Maybe she’ll even get to shake hands with Fredrick Northanger, the star of the smash hit prestige TV series “Inscrutable,” and the main feature of Kit’s fangirling. But expectation and reality are not at all matched, and despite her newfound friendship with the equally fangirly celebutant Izzy Thorpe, Kit finds BathTIME insular and backstabby, instead of the hub of creativity her aunt had promised.

And then Kit meets Henni Tilney. The only gentlewoman in a town of rakes – and a voracious reader, like herself – Henni and Kit’s will-they-or-won’t-they romance is the stuff, at least to Kit’s mind, of epic love stories.

But it all comes tumbling down when Henni’s father accuses Kit of only dating his daughter to get to Henni’s brother – Fredrick Northanger himself!

How on earth is Kit going to be able to save not only her online reputation, but her future as a professional author, and her relationship with her new girlfriend Henni when the whole world thinks she’s just some selfish, slobbering fangirl who reads too many novels?

Adapted from “Northanger Abbey” by Jane Austen

Start Reading

No comments
JM FreyPUBLICATION: “Northangered” on Wattpad
Read more

WORDS FOR WRITERS: Indie vs. Trad

WORDS FOR WRITERS: Indie vs. Trad

Welcome to another WORDS FOR WRITERS article! This time, your friendly neighbourhood hybrid author (that means I’ve both self-published and been traditionally published) is here to address some questions I’ve seen flying around social media lately.

There’s a lot of debate recently regarding which stream of publication is “best”, with folks debating between self-publishing their book independently or querying it to agents and presses for traditional publishing and the answer is: it depends on what you want out of publishing it.

But before we get into that, let’s briefly revisit what, exactly, both Indie and Trad Publishing actually do.

Trad:

  • A publishing company turns your intellectual property (IP) and Manuscript into a product called a “book” (and sometimes also an “ebook” and “audiobook” simultaneously.) In return, they pay you Royalties.
    • They’re not buying it outright, they are leasing the use of it from you, and paying you for the privilege.
    • You retain copyright, unless you sign it over to the company (which I stridently advise you not to do.)
    • Unless the rights are locked down in your contract with your publisher, you have the right to ‘lease’ use of your IP to other companies creating different kinds of products, such as “screenplays”, “theatrical adaptations”, “podcasts” or “merchandise”. Depending on your contract, your original publisher might help you court these deals in return for a cut of the profits.
  • The company pays all the out-of-pocket expenses to create the product, but in return, they keep the lion’s share of the profit from selling the product, and have complete creative control over how the product is designed and marketed.
    • That’s not to say that your opinions and thoughts won’t be asked, but you don’t have any veto power. That’s okay, though, because these are professionals who know both the business and their jobs better than most authors ever will. They’re good at their jobs.
  • The publisher will take on some, but not all of the burden of marketing your book, and the attendant costs with their portion.
    • They’ll cover a lot of the pre-publication stuff (marketing to the industry) like doing all the work to pitch it to library associations, professional review outlets, large chain bookstores, high-end social media influencers, awards committees, organizing the sending of advanced review copies, setting up the book on Goodreads/Amazon, etc.
    • This means the post-publication stuff (marketing to readers) will be up to you. This is stuff like donating copies to your local library branch, appearing at local book markets and festivals, arranging your book launch party, designing and paying for any swag you might want to give away, etc.
  • Your contract is ostensibly in perpetuity, or until one or both parties agree to invoke the sunset clause and part ways.
    • Reasons the publisher might sever your contract include but are not limited to:
      • Morality Clauses (you do something reprehensible that will damage the publisher’s reputation by association)
      • You or your agent are unreasonably difficult to work with (that’s not to say you should be a pushover, just don’t be an asshole)
      • The book didn’t sell as well as they hoped and they decide not to pursue Next Works or Sequels with you
    • Reasons you might sever your contract include but are not limited to:
      • Lack of payment (you’ve sold books but they aren’t paying you what you’re owed within the timeframe outlined in your contract)
      • Lack of sales (it’s been a certain number of months or years with no sales, as outlined in the contract, and you have the right to claw back the book.)
      • The editor or publishing house are unreasonably difficult to work with (it goes both ways)
    • The company will have Right of First Refusal on your next work(s).
      • This doesn’t necessarily have to be a sequel or prequel to what you just published with them. Sometimes it’s a completely different stand-alone book.
      • This is good! It means that your next book already has a home, so long as they want it. If you provide it to them for review, and they pass on it, then you (and your agent) are free to shop that book elsewhere.
      • This is also great if the first book you ‘sell’ isn’t the first book you wrote. You may have a whole backlist of projects that they can peruse and help you get up to snuff for publication.
      • However, if you had a bad experience with your publishing team, this means you may be stuck locked into a second book with them. (Don’t worry, if it was really horrendous, your agent will help you navigate or get out of it.)
    • You will be contractually obligated to provide them with any subsequent works created in the same IP that you may choose to write, and may be barred from taking them to another publisher.
      • You can’t publish Book #1 with one publisher, and then whisk it away from them and publish Book #2 elsewhere. Anything written in that world is automatically theirs, unless they pass on it.
    • You have the support of a professional editorial, marketing, and agenting team.

Indie:

  • You yourself turn your intellectual property (IP) and Manuscript into a product called a “book” (and sometimes an “ebook” and “audiobook” simultaneously.)
  • If you have the money and/or the connections for it, you can court and negotiate adaptation contracts yourself.
    • Hire an entertainment lawyer or agent to review any contract you negotiate yourself before signing! Always!
  • You keep all of the profit from selling the product, and have complete creative control over how it is designed and marketed.
  • That said, you are also responsible for all of the out-of-pocket costs—paying for editors, paying for typesetters or typesetting software, paying the cover designers and to buy the stock art and fonts licenses they many need, paying the file uploading fees, book printing costs, shipping costs, and marketing associated costs such as paying for stocking fees or table fees, etc.
    • Be honest and objective with yourself when it comes to your budget, and stick to it. Indie books very rarely earn back everything paid into making them at a high quality within the first year. This is an investment in yourself as a creator and small business owner, and it may take years (and several more books) to start properly earning profit.
  • You retain full copyright, unless the company you print the books through someone manages to obtain it through their terms of service (in which case I advise you to walk away and not use their services).
    • This is great because it means if someone is interested in adapting the books, or reprinting them through tradpub channels, you are in complete control of everything already.
  • You are under no obligation to print your follow up works through Indie channels, and can go the Trad route with your next book, so long as it’s a separate and distinct IP from anything else you’ve already Indie published (i.e. Stand Alone book in a new world, entirely unrelated to what you’ve already self pubbed)
  • You have to do everything on your own. (Or you need to research and hire freelancers to do certain parts for you.)

Now that you understand the difference between Trad and Indie, let’s look at what might pull you in one direction or another.

Why do You Want to Publish?

Just Sharing For the Fun of it / Practice

I’d say dive right in, then! Who knows what will happen! You might get some great feedback, make some awesome friends, garner some great mutuals and build a wonderful and supportive community, and learn loads. If this is the case, though, I’d recommend trying out a serialization or social sharing site first, like Wattpad, AO3, Tumblr, Discord, or any of the other of the myriad of similar free apps. That way you’re not sinking money into something that you’re not ready to do professionally.

To Make Money

For some reason, the stereotype of the ultra-wealthy author is a favourite of Hollywood, and the public thinks that being a writer is the easiest and highest paying job anyone could ever have. The truth is, it’s a highly, highly competitive field, takes an immense amount of talent, practice, craft, determination and dedication, business connections and sheer dumb luck to become the next James Patterson or Casey McQuiston. Writing is hard. It takes a lot of time, and a lot of revisions, and ideas are cheap—it’s all in the execution, and that takes time and dedication to hone. Nothing about being a writer is easy. And even if you do finish your book and publish it (either indie or trad), it’s got to fight against a sea of other novels for attention.

Did you know that on average, about 3,000 titles are published on Amazon per day? And that an increasing number of them are AI Slop Vomit? That’s a lot of books for readers to wade through and choose from. And that each of those books will earn the author between $2-$10 dollars per purchase. That is… not a lot, when you start calculating how many units you have to move to live the luxury author lifestyle. You have to really stand out, and really market well, and really, really sell a lot of books to even begin to have it cover your bills. Writing and publishing a book is not a viable Get-Rich-Quick scheme. It is possible to make a living as a writer, don’t get me wrong, but it will likely take time and multiple titles to see steady enough income to quit your dayjob for.

To Get Traditionally Published

I love indie publishing. I love having all the control and making all the choices, and sharing my work that isn’t a good fit for mainstream markets with readers who love it for exactly how quirky and left-of-centre it can be, and I love having all the creative control.

But there is something wonderful about handing over a completed manuscript to a team of experienced and trained professionals, cashing my advance cheque, and going to have a nap while they handle everything from there. Trad publishing takes longer—years longer, sometimes—but for the chance to work with professionals who have connections that can offer me creative and emotional support, make my book better, help it hit bigger, and help me make more money than I might otherwise if I Self Pubbed? Yeah, it’s a fantastic exchange. There is still worth and value in the traditional system, and I enjoy it immensely.

To Backdoor my Indie Book into Trad Publishing

The path from Self-Published (or published on a serialization site) to Traditionally Published is a very thin, not particularly well-worn one. Besides the books specifically hand picked by the Wattpad Books and W by Wattpad publishing teams (usually through the Watty Awards), or their graphic novel/comic side Webtoon who publish the Webtoon Unscrolled books, or because the indie book was a screaming runaway success with an in-built audience like Fifty Shades of Grey or The Martian, I can think of vanishingly few novels that have been selfpubbed first and then picked up for traditional publication.

If the point of being published is to be Trad Published, definitely query agents and small publishers first before Indie Publishing. That said, having a project on a site like Wattpad will give you a lot of experience and metrics that you can brag about if you elect to query around a second or different project. I cite my serialization site readership numbers in my tradpub marketing documents all the time. Just because you chose to Indie pub one book means you’re locked into Indie for the rest of your career; you can always query the next book you write to agents and publishers that allow for direct submission.

To Share my Story with the World

Amazing! It takes a lot of hard work to write a novel, and I applaud you for finishing it! If you want to share the book with people, and help the best readers find and love it, but don’t necessarily care for the trappings and timelines of Trad Publishing, then Indie Publishing will probably be ideal for you! Especially since you can print as many or as few books as you like, and completely control how and where they’re distributed and sold. There’s lots of ways to make that happen, if you’re not necessarily prepared to learn new software and pick up graphic design skills—you can hire professionals to do all of that on your behalf, either a la carte via friend recommendation or via freelancing sites like Fiverr, or a vanity publishing team, who will handle everything for a lump fee. If you do choose to use a vanity press, double check Writer Beware before you hire one. Some can be scammy.

This is especially great for folks who aren’t looking to get into writing and publishing full time. My Uncle, who just turned 101 this past month, wrote up his memoires a few years ago. He just wanted to print enough copies to give one to friends and family members. I encouraged him to print a few extras and donate them to the local libraries, history archives, and museums, and I’m glad I did because they were very grateful to have them. He did it all through a vanity press, and we were both satisfied by the work they did.

And while it will definitely require extra work and diligence on your part, you can get self-published indie books into bookstores, festivals, book markets, awards, and press. It is entirely possible to have a flourishing full-time writing career as an Indie Published author; I know several who earn more than enough as an Indie author for it to be their full-time job, and to live in financial comfort. They get to write what they want, how they want, and publish it on their own timeline with complete creative control, and their readership is engaged and willing to spend money on what they produce.

(A caution here: I have also known Indie writers who have gone bankrupt or reverse mortgaged their homes throwing everything they have at a book or series that just isn’t hitting with readers. If something just isn’t grabbing readers, you have to let it go and move on to something new. The nice thing with Trad Pub is that your agent and editors will be there to chivvy you onto the next work. The danger of Indie is that it can be hard to let go when you’ve poured everything into it, and harder still to know when it’s the right time to do so. Cultivate a group of writing friends to check in with you, and stick to a realistic budget.)

Have a Movie Made

Take a screenwriting class instead. If the ultimate goal is to get a movie made of your story, why not just write it as a movie in the first place? It is a lot rarer than it seems from the outside for a novel to be adapted, and if that’s the only reason you’re doing it, consider that maybe you’re writing for the wrong medium. For more info on that, read my article about How Books Become Movies.

Become Internet Famous

You do you, I guess. I have no idea how it would work, and no advice for that because I am definitely not Internet (In)Famous, and have no desire to be. Looks exhausting. But don’t let me stop you! You can do this either through Indie or Trad pub, if you work hard. Just… be famous for something good, okay? Don’t attack your fellow authors. We’re colleagues, not competition.

Already Published

No matter what method of Indie Publishing you choose, be aware that this means the manuscript will forevermore be what is considered “Already Published” by the whole Traditional Publishing business machine.

Publishers create products to sell. If someone (you) has already created that product and made it available for purchase, it means that it’s not new or exclusive for the publishing company. And so very much of traditional publishing relies on New and Exclusive. For all that they deal in stories and sell beautiful pieces of writer’s souls and imagination, never forget that tradpub is An Industry ™, and many, many of the decisions are made because Capitalism™.

There are very, very few agents and publishers willing to look at Already Available projects, and generally only those with massive pre-existing readerships and fanbases. There are now also imprints of larger presses whose employees are scouting and scooping Indie books for republication with Trad support and distribution, which is a great foot in the door to Trad, but you also have to ask yourself why they’re doing so.

Yes, to find great work and share it with the wider world, but also take long hard look at the contracts they offer, and decide if the terms are acceptable to you—they’re without a doubt going to be more restrictive and come with less compensation than if you went the full Trad route with an agent to advocate for you. Just read the contracts carefully.

Reasons to Trad Pub

Usually because…

… you don’t want to run a whole business.

I don’t know about you, but I became a writer to write. Not to also become a webmaster, a project coordinator, an editor, a fulfillment officer, a graphic designer, a marketing genius, a savvy distributor and bookseller, a typesetter who knows all the rules and conventions of the practice, and whatever else I might need to learn how to do in order to publish a professional book independently. I can do it, I’ve taught myself to do all those things, but I don’t like doing them. And they cut into my writing time.

I want to tell stories, not sell them.

And I certainly would prefer to not have to pay out of pocket for everything as well. I’m already living on limited income—going into debt to publish a book that may or may not earn back enough to pay it off is not at all attractive to me.

Publishing Trad means everything after the manuscript is revised and locked is someone else’s problem, and I love that for me.

… you want to work with trained professionals and a support network.

Your publisher will come equipped with:

  • an Acquiring/Substantive Editor (who helps you revise the story as a whole to make it the best it can be, and helps you write the best version of the Marketing copy the other teams will use, like the synopsis and back cover pitch paragraphs)
  • a Line Editor (who reviews the story with a fine-toothed comb to ensure all the details match up and every word means what you think it means)
  • a Proofreader (who finds and eradicates typos and grammatical errors)
  • a Typesetter (who lays out the manuscript in book-shape)
  • a Designer (who will design the look of both the cover and the interiors of the book)
  • a Cover Artists (who creates the cover illustration based on the Designer’s brief)
  • a Publicist (whose job it is to get the word out about the book)
  • … and a whole bunch of other people whose jobs it is to manage printing and distribution of the book to bookstores and libraries, court audiobook/television/film adaptations, create and sell merch for the book, etc.

Not to mention your agent, who will:

  • Submit your books around to publishing houses for consideration.
  • Negotiate a bomb-ass contract on your behalf.
  • Will court audiobook/television/film adaptations on your behalf.
  • Will review royalty statements and keep on top of companies to ensure you’re paid fairly and on time.
  • Will act as chief hand-holder, brainstormer, and springboard for your next works.
  • Will protect you and help you access legal representation if you need it.
  • Be the bad guy on your behalf.

… your book is both accessible and mainstream.

Publishing is a Business. While sometimes something unique and niche pops off, the bread-and-butter of the industry is the comfort-food predictability of the exact kind of stories readers expect when they choose your book. The Romance book will end with a Happily Ever After, the Sci Fi Book will give the reader insight into the human condition and explore the consequences of technology, Fantasy will provide an escapist world to get lost in, spies will catch the bad guys, and above all, the story will be well-told, and satisfying, no matter the genre.

I’m not saying your book has to be boring or trite. I’m saying that it meets (within a certain margin of flexibility), the genre and age market expectations for word length, tone, tropes, character arcs, and plot. That makes it very easy to package and sell, and therefore very appealing to agents and publishers.

We all love good comfort food, don’t we?

… you are looking for a more reliable and predicable paycheque.

As I said above, it is possible to make writing your fulltime career, but it often requires the publication of multiple titles, and a decade or so of steady publishing and building your readership. This is for both Trad and Indie Publishing. There are one-off genuine overnight success stories, but you can’t count on your manuscript being one of them.

While you make less money per book in Trad Publishing (see my article How Do Writers Get Paid for a thorough breakdown of how money ends up in an author’s pocket), the truth is if you do manage to publish traditionally, then you’re likely to sell more books overall than in Indie. I’ve seen statistics floating around that most Indie books sell fewer than 500 copies over their lifetime (though that doesn’t count the per-page-reads of places like Kobo Plus and KDP). And in Trad, you are often given an Advance on Royalties, before the book is even published.

Having said that, getting your book picked up by a traditional publishing house is significantly more difficult than self-publishing a book, just in terms of patience and luck.

Agents receive hundreds of queries from authorly hopefuls a week, but sign only a handful every year; agents then submit books to dozens of editors, but can’t guarantee sales. Every agented author has had at least one manuscript wither on submission, to be put away in a drawer and either never see the light of day again, or to wait to be revised in the future so your agent can try again when the tastes of the market have shifted.

… you want to leverage a publishing house’s greater reach and market penetration.

The truth of the matter is, unless one has incredible personal connections, even the most dedicated and industrious indie publisher cannot match the breadth and depth of market reach that an established, major global publishing house brings to the table.

While even trad pubbed authors need to do some marketing on their own (mostly the reader-facing efforts, like making bookmarks, holding give-aways, and arranging autograph appearances), they have the direction and support of professionals with educations, experience, and connections that far outpace the writer’s own. They can get your books into stores, major review outlets like the New York Times, arranged for preferred placement at major chain book stores (on tables and endcaps), and considered for prestigious awards. All of which is very difficult to do on your own, unless you spend megabucks.

Reasons to Indie Pub

Usually because your book is…

…niche work.

The book or story produced is either hard to sell to mainstream publishers, or they’ve rejected it. In this case, I mean when the agent/publishers think the book is “too” something. “Too poetic.” “Too weird.” “Too queer.” “Too diverse.”

Just make sure that you’re not mistaking a book being “too” something for feedback that indicates that your manuscript requires more work. “Too raw” may actually mean “requires some serious editing.” Be honest with yourself and the level of your craft.

…shorter or longer than books traditionally are.

Trad Pub houses sometimes have a pretty firm set of guidelines for how long they want a book to be, because of the cost of manufacturing that book, and because of the market research stating how long a book ought to be in order to be appealing for the target demographic. But sometimes a story ends up being outside those guidelines, and that margin is just too large to make printing such a book viable.

For example, skinny novellas with only 20-40 pages are often too small to produce and make a profit–it would cost as much to produce it as one could sell it for, making it a project not worth taking on for a publisher (whose goal, of course, is to keep the business afloat while publishing great books).

Alternately, a huge book’s price needs to be jacked up to account for the large amounts of ink, paper, and special binding to keep something that large from falling apart. While readers are willing to spend $40 for a paperback copy of George R.R. Martin’s latest, they will be significantly less likely to do so for an unknown or debut author.

Publishers prefer books in that sweet spot where they’re making good profit, but purchasers aren’t feeling like they’re being ripped off.

… weirdly formatted.

This is anything that would make the book more expensive for the publisher to create, would require that they hire an extra interior graphic designer, or might be confusing to a reader used to just straight-up prose. For example, if part of the story is told in pictures, or in verse, or a book that requires extra special formatting allowances, such as a good deal of illustrations or footnotes, or a book that ties in with and is dependent media available elsewhere – like a webcomic or a video hosted on your site.

I’m not saying that Trad Pub publishers aren’t interested in taking risks, but they are calculated risks and that have been costed-out carefully, and usually are executed only when the author involved is a big enough name that the bizarreness of the project won’t put off the hardcore readership of the author, and there are at least a small pool of guaranteed sales to rely on.

…backlisted and/or out of print.

One of my novels, TRIPTYCH was originally published with a Trad Pub small press out of Canada. When my contract with them was up, I clawed back the rights because I was unhappy with their marketing efforts on the book, which had resulted in a long enough stretch of time with no sales to allow me to invoke the sunset clause in our contract. A second publisher took the ebook rights for the book, but was uninterested in also publishing the hardcopy version, so I took myself off to IngramSpark, and along with the help of a hired interior designer and a cover artist, produced a paperback and hardcover to fill the gap myself.

…a collection.

Over a decade or so of being a professional writer, most authors end up with a hodgepodge of short stories, poems, and articles that they’ve written for anthologies and other publications. Usually you get the rights back on these kinds of short pieces a year or two after they were originally published. And then they’re just sitting there on your hard drive, collecting digital dust.

This is a good opportunity to collect them all together, put them in some sort of order, and publish them as a single volume. Unless you’re a big name, most agents and Trad Publishers aren’t interested in publishing this for you, as there’s little guarantee of a return on investment—but who cares! You’ve already written the stories, you might as well share them! And these are great volumes to have for your readership, especially for the completionists and hardcore fans you may cultivate.

… to complete a series.

Sometimes, and it happens to us all, a publisher doesn’t end up publishing a whole series. Firstly, publishers don’t always sign the rights for a whole trilogy or series at once. Usually it’s in one or two-book deals. If book #1 does well, the publisher may then contract for books #2 and #3. Or just book #2.

And if any one of those books flop (whether it’s the publisher’s fault for marketing it poorly, or it just doesn’t do well), then the publisher will either decline to sign the rest of the series or cancel the contract. After all, why should they publish a proven money-waster?

It’s harsh, but it’s one of the realities of the biz. In this case, your readership is left with an incomplete series, and you might have a book or two that you’ve written already, or a story you want to finish, and now can’t.

In this case, it’s usually possible to negotiate with the publishing house to bypass the Right of First Refusal clause, and claw back the ability to publish the rest of the books in the series on your own.

…been rejected by agent / publisher.

Nearly a decade ago, my first agent read the original version of TIME AND TIDE (then called “First Impressions”) and said that he didn’t know how to sell this “weird Victorian romance crap.” Putting aside the fact that the manuscript is neither Victorian nor crap, I did a revision on it and then put it away. When I pitched it to my second agent, she also said that she wasn’t interested in trying to shop around something that another agent had already rejected, and that she wasn’t sure what to do with a queer time-travel love story either. With no support for the book at all, I decided to revise it again, changed the title to “A Woman of the Sea”, and thought I’d give Wattpad a proper go.

The book did quite well there. It’s not a flip-off to either of my literary agents that it has, though, because what works on Wattpad and what works at a Trad Publisher and in bookshops are often very different things.

However, in this case, I have a segment of my readership that isn’t on Wattpad and doesn’t care to engage with the app/website, and who prefer hardcopy books. I had free rights over all the licences and ownership because my agent doesn’t want to rep it and Wattpad doesn’t want to monetize it, so I decided might as well make money on it myself. I used the same team that helped design and do the covers for TRIPTYCH, and self-published “A Woman of the Sea” via IngramSpark.

From there, W by Wattpad Books noticed how well it was doing on the Wattpad App, and offered a collaboration to give the book a proper edit and redesign. I pulled down “A Woman of the Sea” from IngramSpark, and it was republished and distributed via Penguin Random House as TIME AND TIDE in fall of 2024.

… to kickstart a Trad Pub career.

Self-Publishing is also a great way to kickstart a Trad Pub career, too, if that’s something that appeals to you. It shows an agent that you can complete a project, and produce a professional-grade manuscript, and it also demonstrates that you understand how to market a book as well.

This also provides the opportunity for you to build up an audience that can migrate with you to Trad Pub; publishers and marketing departments sure do love lots of wonderful high stats and numbers in terms of audience engagement and readership.

Of course, as I’ve said in earlier, agents generally can’t sell manuscripts that already exist in book-form, so if you’re going to Indie Pub a book, make sure it’s not one that you’d rather see Trad Pubbed. It is very very very rare for a Trad Pub house to pick up a book that has already been selfpubbed for large distribution. Trad Pub publishers will only republish a book that already exists if they know the numbers are going to be through the roof.

Agents and Publishers are in the business of turning manuscripts into products called a books. If your manuscript is already a book with a cover and an ISBN, then there’s nothing for them to create and sell. You’ve done it already.

So if you intend to Indie Pub a book, gain a readership that way, and then pitch the exact same project again to an agent or publisher, I urge you to give it a real think-over. There’s no harm in pitching the manuscript around to Agents and Small Presses first, and then Indie Pubbing if the book isn’t picked up. But it rarely works the other way around.

By the same token, there’s also no harm in Self Pubbing a book first, using that to build audience and loyalty, and then leveraging those numbers while pitching a second, different book to agents and publishers in the Trad Pub sphere. (So long as this second book has nothing to do with the first – don’t pitch the second book in a series that you’ve already begun to publish.)

A Word on Trad Pub

This article has breezed over one of the most difficult and daunting part of Traditional Publishing, and that is actually getting an agent and/or smaller press that allows you to submit directly to actually pick you up for representation and publication. Trad Pub requires diligence, determination, and a willingness to rework and revise your work a lot before you even get to the part where you have an editorial and design team to help you make it the best it can be.

If you have decided to pursue traditional publishing with your manuscript, here are some more articles to help you on your way:

 

*

 

I hope this article was helpful. You can find more of my WORDS FOR WRITERS series of advice blog posts on the craft and business of being a writer right here.

No comments
JM FreyWORDS FOR WRITERS: Indie vs. Trad
Read more

The Once and Now-ish King by J.M. Frey

The Once and Now-ish King by J.M. Frey

Originally published in When the Hero Comes Home (Dragon Moon Press, 2011)

Prefer an audiobook? Listen here:


The first thing that Arthur Pendragon, the Once and Future (well, Now-ish) King did upon his rebirth into the world at the moment of Albion’s greatest need, was to open his shrivelled red mouth and squall out: “Oh hell, no.

Which startled his Mother quite badly, you’ll understand, as she had just put him to her breast for his first little feeding. She shook her head and glared balefully at the IV needle in the bend of her elbow, ignored her new son’s outburst, and went about her task.

The second thing that Arthur Pendragon, the Once and Now-ish King did upon his rebirth into the world at the moment of Albion’s greatest need, was to consume his body weight in breast milk. After which, he soiled his nappy, burped quite dramatically, and took a wee bit of a nap.

Getting born was hard work, you know.

The next thing that Arthur Pendragon, the Once and Now-ish King, did upon his rebirth was to wake up and ask to where that good for nothing senile git of a wizard had gotten. Nobody else was in the hospital room with Arthur and his new mother, so he had to repeat it a few times to convince her that she was not, in fact, hearing things. “Great ancient sorcerer with the beard?”

“What, Gandalf?” his mother asked, trying to make her eyes the size of regular eyes again, rather than saucers. She wasn’t quite succeeding. “Or, um, Merlin?”

“Yes, Merlin!” Arthur shrilled, then frowned because his voice hadn’t been that high since, well, since the last time he was a baby. In a more sedate, and what he hoped was a more kingly tone, he went on to clarify: “Who the hell else would I mean?”

“I, uh, I’m sure I don’t know, dearest,” his mother said, and started to cry.

Arthur felt quite bad about that, because she seemed a nice lady, especially since she had just put up with him in her womb for nine months. He resolved to be a bit gentler with her thereafter.

Were Guinevere here, she would surely have clipped him round his ears already.

Arthur was quiet on the way home, watching with utter fascination as his new father manhandled the strange metal carriage in which they rode. The motion of the vehicle made him nod off, soothing and quite like being tucked up safe and sound in a caring person’s arms. His only grievance with this was that he had hoped to see more of the strange and wonderful world outside of the vehicle’s windows. There were tall buildings and everything was covered in glass. Some great king must have been very wealthy to afford to give his subjects a whole city of glass.

The thought caused his tiny tummy to burble with foreboding, because perhaps this wealthy king was the very person he had been brought back to defeat. Shoving thoughts of his destiny aside for now – it was not as if he had Excalibur, or was yet strong enough to even lift her – he let the rocking motion lull him into a doze.

Once they arrived home, Arthur made a point of vocally admiring the shade of green on the walls of his nursery, and complimented his mother on her pretty coming-home dress. He had, after all, promised himself to be nicer.

She started crying again, and Arthur, who had never really been all that good with girls and who probably wouldn’t have ever been able to attract a wife had he not had a crown weighing on his forehead, looked at his father and said, “What did I do?” He really wished Guinevere was here. His father only plopped down into the rocking chair and stared in horror at his little face.

“What?” Arthur said.

“I… don’t think this was in the baby books, hon,” his father said, all the blood draining from his face. If the man was going to swoon, Arthur hoped to at least be set down somewhere first. But the man stayed upright. He gulped on the air for a bit, then when his colour had mostly come back, he stood and lay Arthur in the middle of the crib and grabbed his wife’s wrist. They left. Arthur heard the footsteps pad across the carpeting, tracking them as they traversed the hallway and then descended the stairs and went out the front door.

Oh, dear.

For a long, long time, Arthur lay still, listening. There was no shouting, no noisy roar of an unhappy lynch mob or of the metal vehicles. There was only Arthur and the inadequate swaddling blanket and the boring white ceiling. There were also five fuzzy white sheep that kept going around and around above his head, hypnotic and really sort of …marvellous.

Right around when his stomach started to cramp with hunger, but after the King of Albion had suffered the indignity of losing control of his own bowels and soiling his nappy, his mother came back.

She hovered in the doorway for a moment, and Arthur gummed his bottom lip and tried to decide if he should say anything. It was, after all, what had gotten him into this mess. Before he could, she darted across the floor like a war charger and scooped him close and pressed his cheek against her neck and said, “I’m sorry, I’m sorry, I’m so sorry. It doesn’t matter, it doesn’t, you’re my son and you’re perfect and I love you.”

Arthur reached up and patted her cheek gently. “I understand,” he said, and sort of thought that he did.

Then his mother offered him a bottle, and he tried not to be disappointed. He wouldn’t want to nurse a baby with the thought processes and memories of an adult man either, really, but the bottle meant she was rejecting him, if only a little. Arthur’s stomach swooped in fear, and he realized it was because he didn’t want to lose those tender, affectionate moments when he was wrapped in his mother’s arms, head against her breast and the sound of her heart soothing him. He supposed he couldn’t blame her. It had to be weird, having a fully articulate, fully cognizant child latching to your breast.

🗡️

Arthur was doing his damndest to stay asleep and not let the little hunger cramps or the haunting sense that he wasn’t bundled up enough wake him every few hours. It was uncomfortable and odd, but he was determined. He was absolutely capable of letting his parents get a full night’s sleep, and perhaps to do the same himself. Having always been a man of strong will, he managed to do just that.

Somewhere in the middle of all of it, Arthur also managed to dream.

He was standing on a battlefield and he knew Mordred was behind him, but he couldn’t turn around fast enough. He hadn’t been fast enough in real life, either. Then there was Guinevere’s big liquid eyes, and Lancelot’s guilty frown, and something Merlin whispered in his ear about coming back one day, about the future of the kingdom resting upon his soul, about being called forth again like the pagan gods from their barrows…

And then there was a shrill screaming, the likes of which Arthur hadn’t heard since once of his horses had fallen into a pit dug in the road by his enemies and snapped its foreleg. He’d killed the stallion for pity. It wasn’t until someone’s big warm hands were on his back and he felt himself tucked protectively against his father’s soft, sloping chest that he realized he was awake and the shrill, plaintive sounds were coming from him. He, the Once and Now-ish King, was sobbing hysterically.

“Shhhh, buddy,” his father said, and jogged him a few times, bumping him closer to wakefulness. “You’re safe, you’re safe. Daddy’s here.”

Arthur snuffled closer and let himself cry out the rest of his residual fear, because what his father said was true. He was safe here. At least for now. There were no dragons to slay, no traitors to rout, no scheming and politics to navigate, no affair to untangle. There was only Arthur, and his father’s warm assurance, the sound of his mother’s soft snores in the other room, and the woolly sheep spinning in a calm, slow circle, blown by the cool breeze of the night time air slipping past the gap in the endearingly crooked windowsill.

“Daddy,” Arthur said, curling chubby fists into the collar of the man’s sleep shirt, and didn’t feel ridiculous at all for using such a juvenile term. King Uther would have boxed young Arthur’s ears for daring to utter it, but here, now, it felt right. “I’m Arthur,” he breathed.

“I know,” the man said, and dropped a soft, dry kiss on his son’s cheek. “That is what we put on the birth certificate.”

The open affection of the gesture shocked Arthur into more tears, though these ones were soft, quiet, and grateful.

🗡️

A few days later, Arthur’s father was comfortable enough with his verbosity to hold complete, if distracted, conversations. Which was good, because the nightmare of his death had been subtly shifting each time Arthur fell asleep; he still stood on a field, but instead of being behind him with a sword, Mordred now stood before him on a broad grassy plain, and unlike the battlefield of his memory it was free of blood and the fallen. Instead of being alone on that knoll, he now had the vague impression of being watched on all sides, and of the tension that crackled between him and his traitorous nephew. They both wanted—coveted—something, and Arthur wondered if it was a crown again, or something more vital. Something more dangerous.

He stood and stared at Mordred and Mordred stood and stared at him, hands out as if prepared to grapple, weaponless and ready to strike. Arthur wished he had Excalibur so he could wallop the whelp down before the ungrateful snake could do him in a second time.

But then the dream ended; it always ended before either of them made a move.

Arthur felt that it was perhaps a warning, a vision of the future or the battle to come, and Arthur wanted to be certain he knew what it meant when the time arrived. He needed to understand, and the only way he could do that was to ask questions, to discuss.

But he couldn’t do that until his father, so far the only other person besides his mother he trusted enough with this information, understood what was at stake.

“I feel the need to clarify,” Arthur said as his father closed the bedroom door behind them. Downstairs were his mother’s parents and his father’s sister, all of whom had come to coo at the new baby and who, Arthur’s father had patiently explained that morning, probably didn’t need to know that their shiny new grandson and nephew could speak like a functional adult. Arthur, therefore, had spent the morning making gurgling sounds and being as adorable as he could manage and was really starved for some honest adult interaction.

“Clarify what?” Arthur’s father asked, holding Arthur away from his body as if to ensure that the slight smell wouldn’t travel through the nappy and into his own clothes.

“My name,” Arthur said. “I’m not just any old Arthur – though I am thrilled that the name has gained such popularity. I am Arthur, King of the Britons, Uniter and Ruler of the land of Albion. And put me down already, man, you look ridiculous. Honestly, it’s not going to explode.

Arthur’s father chuckled and put Arthur on the change table and began the lengthy process of preparing to change his nappy.

“You do know me, don’t you?” Arthur asked worriedly, when his father hadn’t immediately been shocked, or gone into raptures, or at least made a leg and called him “your majesty.” Perhaps he was forgotten.

“Hm, what?” his father asked, rooting around under the table for the wet wipes and dry powder. “Right, yes, King Arthur, quest for the Holy Grail, Sean Connery, myths to make the Welsh feel better about themselves, all that.”

Arthur furrowed his chubby brow as best he could. All of him was chubby right now and it actually was slightly annoying. It was hard to be taken seriously when one was so damnably cute. “Sean who?”

“Actor. Played King Arthur in the films.”

The thought that he had passed into history had been certain to Arthur; he had already been a great historical figure while he had lived. That he would pass into legend was a possibility, though he didn’t enjoy the idea that he might have been forgotten as a real person. To find that he had become a myth hurt in ways that Arthur couldn’t directly pinpoint, but he thought that it might have something to do with the idea that all of his bloody and hard work had been reduced to the sphere of an epithet, and all the people he had known and loved had been distilled into archetypes and clichés, ghosts of themselves.

But to find that there had been a film…horrifying.

Arthur had already seen two films in his admittedly young life – one that made his mother weep and smile as the man declared his love for the unattractively thin woman with a wide face (arms like toothpicks, she’d never be able to raise a blade to defend herself or her children from invaders), and one filled with great balls of fire and fast chases in those metal vehicles he now knew were called “cars” – and wasn’t sure he had any great love for this bastardization of the bardic tale-weaving he had known in his last life. Though, he had to admit, the television was a remarkable invention.

To take his mind off it, he asked, “What exactly is wrong with Albion, anyway?”

“Pardon?” his father asked again, concentrating on his task and perhaps watching Arthur’s willy with more apprehension than was strictly polite. After all, Arthur hadn’t weed on him on purpose, and he had apologised besides. “What’s an Albion?”

“This land. I united it. I ruled the whole island once, you know. Don’t tell me somebody let it get all split up into different kingdoms again after all the hard work I did.”

“It was for, oh, a thousand or so years,” his father said, reaching for the fresh nappies, eyes still on Arthur. “But then Scotland and Wales and part of Ireland got sucked back in, wars for a few centuries about all of that, too, and so it’s all mostly united again. The United Kingdom of Great Britain and Northern Ireland. We just say the ‘UK’ now, son. Oh, but, uh, I guess there’s the colonies, too, only they’re not colonies any more as we’ve become a commonwealth state and –”

Arthur coughed and his father trailed off, concentrating on getting the nappy under his son. Not a Kingdom anymore but a whole Empire; Arthur felt overwhelming responsibility pressing strangely on his little shoulders. Perhaps it would mean that he would be less prepared when the hour of need came, but right now Arthur wished that he could have had a childhood like the last one: oblivious of his destiny and happy in his innocence.

After a short silence, Arthur prompted: “So, Albion’s greatest hour of need?”

The man shrugged. “Rotter in Downing Street? War in the Middle East? Decline of social niceties in direct correlation with the rise of texting and tweens?”

“Maybe it hasn’t happened yet,” Arthur ventured. Then he sighed, because baby powder? Best. Feeling. Ever.

“You’d be born before the thing that would make you need to be born has happened?” his father said, and finally looked up.

“Magic works in strange ways; besides, Merlin lived his life backwards. He always knew what was going to happen before it did.” Arthur wanted to grin, but a wave of melancholy swept over him instead. “It was always frustrating, though, because he never remembered the day before. It was…difficult. Having a friend who never shared the same memories, I mean. Who never…shared anything you loved. Except your friendship.” Arthur swallowed. “And the in-jokes never worked. Anyway. He’d know when I had to be born again. So that means whatever it is, it probably hasn’t happened yet.”

“That’s a comfort,” his father allowed. “I guess. None of us can choose his destiny.”

Arthur frowned. “No; but some of us have it chosen for them.” Arthur let this percolate for a bit as his father tamped down the sticky tabs on the side of his new nappy and picked him up. “By the way… surprisingly insightful, old man,” Arthur said, snuffling and burrowing close to his father’s warmth and the comfortable, safe smell of his neck.

His father smiled. “Thanks, kiddo. You get your brains from me.”

Arthur felt that a good gummy yawn was probably agreement enough, and proceeded to put thought into action.

🗡️

Arthur dreamed again. He dreamt of the great grassy plain, and of thousands of millions pairs of eyes watching him from stands erected all around him, hemming him in. But it was getting more detailed, the more he experienced it; or maybe it was just that he was familiar enough with the skeleton of the dream that he could allow his mind to take in the other, seemingly less important details.

It was a tourney field of some sort, but it was bisected at its narrowest, rather than with a rail across the length. This was not a jousting field, nor did Arthur wear any mail or armour. That it was a place for fighting, he knew, but what kind escaped him.

Mordred just crouched before him, a flapping swatch of white suspended on a metal frame behind his head, smirking and horrible and waiting.

They were both dressed in a ridiculously flimsy pair of uniforms, with thin boots and shin guards. The material was so slight that it would not block any blade, and it was in a colour so bright and garish that they would never be able to hide from their enemies. Perhaps that was the point; to prove that the knight wearing it was firm enough of mettle and strong enough of arm to not require armour.

The people in the stands around him blasted their disproval of his inaction into short, obnoxious trumpets and the sound filled the grounds with the angry buzz of disturbed hornets. They looked at him with such eager expectation, and Arthur had no idea how to give them what they wanted. He had always feared not being able to satisfy his subjects, but their now gazes were positively hungry. Arthur wondered what could be at stake should he fail this test that would make them so desperate.

A golden club sat in the middle of the tourney field. It was cup-shaped and large, with a great ball cradled between the carven swaths of its base. Arthur knew it was not the Grail. Beyond that, he had no idea why it might be significant, and his ignorance annoyed him as much as the anxiety in the audience’s eyes ate away at his confidence.

A sharp cry woke him and he was chagrined to discover that once more it had come from him. Imagine, King Arthur, the strongest arm at the Round Table and the firmest of grip on the crown, unable to contain his own whimpers. Or bowels, for that matter. He shifted once in the darkness, but no tell-tale dampness announced its presence and he sighed. He was getting better at controlling that, at least.

When his mother came into the room a few minutes later with his bottle, Arthur peered up at her from his crib and said, “I’m sorry, Mother.”

“Babies are like ink cartridges; low capacity and need to be refilled often,” his mother said with a strained smile. There were dark smudges under her eyes and Arthur felt so guilty that he couldn’t help the involuntary squirm.

“I didn’t mean the night feedings, though I appreciate that, too,” Arthur admitted, waving his hands happily at the bottle as his mother held it in his direction. She didn’t like to pick him up to feed him anymore. Arthur missed the feel of the beat of her heart next to his cheek, the soft warm milk-and-rose-water-smell she had, the gentleness of her long fingers on the back of his neck, but he didn’t dare say as much. He felt he was imposing on the poor woman enough. “I meant for… well… everything else.”

His mother let him latch onto the plastic nipple of the bottle and stayed silent as he sucked. The formula didn’t taste as wonderful as the breast milk had, but the fake bottle also wasn’t giving him strangely twisted feelings of both young security and old lasciviousness.

When he was done, his mother rubbed his full belly in gentle circles until the little burp of swallowed air bubbled out of his mouth. Kaye had always outdone him at banquets, but Arthur was becoming increasingly impressed with his own manful belches.

Normally after the bottle, Arthur’s mother left his nursery immediately. She was never inattentive or neglectful, not after that first time, but she wasn’t comfortable around her son, either. He left himself drift back in the direction of sleep. If she wanted to watch him do so, he was happy enough to oblige.

“Why don’t you talk to me as much as your father?”

Arthur blinked his way back towards consciousness and debated what his answer should be, or if indeed he should answer at all. But then, he never had been all that good at keeping his mouth shut when he should have – the sword in his back in the middle of a battlefield from the man who should have been his heir was proof enough of that.

“It seemed to make you happy,” Arthur replied softly.

His mother jerked back, then leaned over the rail of the cradle and pressed her lips to his forehead. “I have a son who is healthy and content. I am happy.”

“Then why do you look so sad all the time?” Arthur asked as she pulled away. Her eyes were sparkling again, like she was about to cry, ready to prove him right.

“I didn’t ask to have a son who is the reborn Rightwise King of All England,” his mother said softly.

“I didn’t ask to be reborn,” Arthur replied softly. “So I guess we both got the short end of that stick.”

“I’m scared,” she admitted. “I’m scared of what this means for the world. I’m scared that you’re going to be hurt. That you’re going to die.”

Arthur kicked his feet for a few moments, looking up in the darkness at his mother’s sad, dark eyes, the halo of woolly sheep that circled her head obliviously.

“What’s your name?” Arthur asked.

“Evangeline,” she said. “My friends call me Iggy.”

Arthur tried to smile, but all he managed was a gummy lip purse. “Iggy,” he said. “I’m scared too, Iggy.”

She put down the bottle and picked up her son and sat with him in the rocking chair and cuddled him close. “I’ll protect you, for as long as I can,” she whispered into the faint reddish wisps of his hair. “And I guess you should call me ‘Mummy.'”

“Do you want me to?”

Iggy pulled Arthur away from her stomach and met his eyes seriously.

“Yes,” she said softly, and smiled. It was tentative, but it also felt like a victory, if only a very small one.

“Very well,” Arthur sighed, content for the moment. “Mummy.”

She pulled him close again and rocked him slightly. She hummed a snatch of a lullaby that Arthur was surprised to realize he remembered from his first childhood. Then she told him a soft, sad story about the Lady of the Lake. Arthur didn’t have the heart to point out to her that he already knew this story with a bit more familiarity than he really would have liked, considering how it ended.

🗡️

Every night for the next few weeks, Arthur dreamt of the tourney grounds and the golden cup and the buzzing, expectant, hungry eyes of his audience. There were other knights with him. Though they, like him, wore new faces, he knew them for Owain, and Cai, Gwalchmai, Peredur, the golden Geraint, the frightened Trystan, bold Bedwyr, Cilhwch, Edeyrn, Cynon, and even that bastard Lancelot. They, like him, wore the flimsy white uniform quartered with red bands, the ineffectual shin armour, and the shoes with spiked bottoms. Opposite them stood other knights in fierce red, Mordred at their head with his customary, bloody smirk. Between them stood the gold cup, the new grail for which Arthur had realized across the course of his nightly dreams they fought on this flat, green battlefield.

“If you can make this kick,” Lancelot said behind his shoulder, “it’s ours. The whole world.”

“No pressure, then,” adult Arthur said in his dream. And then he began to run towards Mordred and the strange limp net that hung like a shredded battle flag behind him.

He could feel himself wind up for something, to make some sort of move, felt his focus narrow to a single prick of white and black that lay stark against the lush green grass.

But then he woke.

Again.

He resisted the childish urge to howl in frustration.

🗡️

“A babysitter?” Arthur said dubiously from his quilt on the living room floor. Those fantastic little woolly sheep were dangling above his head, suspended on a yellow plastic frame patterned with dragons. He loved those sheep – they were so entertaining. He tore his attention away to attempt to raise an eyebrow askance.

“You forget, your majesty,” his father said kindly, “you can’t even sit up on your own yet.”

Arthur, who couldn’t exactly prove the statement wrong, said grudgingly, “Okay. I guess. Enjoy your night out, Dad, Mum.”

“Thanks, darling,” his mother said, and smiled. It was one of those real smiles, one of the ones where she realized that maybe everything was going to be okay and that her life hadn’t turned out all strange and terrifying. She was smiling like that more often, lately, and Arthur was proud of himself to be part of why that kind of smile was ending up there.

Then the doorbell rang. His mother went to answer and his father gave him the thumbs up. Arthur tried to roll his eyes. Then he tried not to think about what they might be doing out alone tonight. And then he tried not to think about what it would be like to have a sibling.

The young girl came in ahead of his mum, blonde and probably about fourteen or so. Arthur wasn’t so good at estimating people’s ages any more – back in his first life, this girl would have been a woman already, preparing to marry or perhaps with children of her own. In this life, kids this age seemed stuck in a strange limbo between childhood and adulthood, irresponsible and yet filled with a coltish sexuality and raging libido that had no direction, and instead exploded all over the media.

There was something different about this one, though. Something in her that Arthur had never seen in the hundreds that were splashed all over the television that he watched with his father while cuddled on his tummy, or that his mother read about from the tabloids to help Arthur get sleepy enough for his naps. Her eyes looked old. Her bearing was comfortable, as if she completely inhabited her skin, was used to being in there.

It wasn’t until his mum had kissed him on the cheek and reminded him quietly that normal babies didn’t speak in fully articulate sentences, his parents had left, and the girl had come to sit on the floor beside him and tweaked his toes that Arthur finally clicked.

Merlin?” Arthur squawked.

The girl scowled, a little wrinkle forming between her eyebrows that Arthur knew quite well. “What the hell do you think, your majesty?” she said, and though her voice was high and sweet, the old sorcerer’s tone hadn’t changed at all in the few thousand years since the king had last been chastised by Merlin. It very clearly said: you are my king and I respect you and love you in a brotherly way, but by all the dragons that once roamed Albion, are you a frigging idiot. “It’s not as if I planned this. The universe and Albion chose, not me. Besides,” she said, and took a moment to pop her hideously pink bubble gum with an obnoxious snap, “You should see Lancelot.”

“Ugly?”

“Very.”

“Awesome,” Arthur said, trying out one of the new words that the people around here seemed to like so much. “I hope his vanity is wounded. About time.” Arthur, understandably, had little love for a man who poached other people’s queens.

Merlin snorted indelicately.

“Well,” Arthur conceded, waving his chubby toes in her direction, then put them in his mouth because, well, he could. Around his toes he added: “I guess I don’t feel so cheated after all.”

Merlin looked at her wristwatch, snapped her gum again, and said, “The football final is on. Mind if we watch?”

“Football?” Arthur asked. “I don’t know football. Is it a sport?”

Merlin snorted again, that mannish sound that was so wrong coming from lips slick with gloss. “It’s a religion. This is a nation obsessed, your majesty. Even you won’t resist for long.”

Merlin propped Arthur up on her lap and Arthur leaned back into the warmth of her stomach and the reassuring patter of her heart. He watched with interest as Merlin explained the rules, and the work and passion the various nations of the world invested in the FIFA tournament.

It wasn’t until partway through the second half that Arthur realized that while he had never watched football before, he recognized the pitch and the stadium. And when the game was over and the blokes in orange were declared the tourney winners, Arthur immediately recognized the golden cup being hoisted aloft.

“The saviour of Albion, indeed,” he murmured.

Merlin just snapped her gum.


If you enjoyed this story, you can find more like it in my short story collection Hero is a Four Letter Word.

 

 

JM FreyThe Once and Now-ish King by J.M. Frey
Read more

WORDS FOR WRITERS: Your Author Website

WORDS FOR WRITERS: Your Author Website

It is both an annoyance and truth that these days, businesses require an online presence to be seen as legitimate. Moreover, most shopping is done online through these business websites. If being an author is your job in any way (part-time, side-hustle, full-time, whatever!), then as a business, you need a website.

There are a hundred different ways to make a website, and a hundred different companies clamoring for your business, so I’ll leave it to you to research and select the best hosting platform for your website, and the best price point for you based on your budget and how much stuff you want to upload. (I used Angelfire and then WordPress, but I know others who use Shopify, Winx, Squarespace, etc.) But once you’ve bought it, what should you do with it?

Websites exist to answer questions.

Everyone with a question turns to the internet to answer it, and you want to be able to control the response that the search engine supplies to your readership. You want your website to be at the top of the search results, so readers come directly to you, and spend their money on your books in the best was possible for your business. (This doesn’t mean you also have to function as a shop and personally fulfill orders–you can still provide them with links to your Amazon, Kobo, Barns & Noble, Smashwords etc. storefronts.) It just means that you want to direct them to the easiest possible way for them to discover you as a writer, and to give you money.

As such, your author website should answer the following questions:

Should Have

  • Who are you?
    1. 100-500 word bio
        • A brief explanation of who you are and what you write. It can be as long or as short as you like, but make sure you have a short version (about 100 words) available somewhere, as usually people will scoop the short version for their own marketing materials when you’re being interviewed or appearing somewhere.
      1. I usually put this on an About Page, along with:
    2. Photo(s)
      • If you’re comfortable sharing your face, it should include a professionally shot or really excellent amateur photograph of you so people can associate your face with your name and brand—use the same headshot on all of your social media so readers can easily tell if it’s your legit profile or not. It’s also important that your headshot actually look like you–not a heavily made-up version of you–so that when you arrive places like book store signings, and local writer’s festivals, the organization team knows who you are. If readers know what you look like, they can find you at events and appearances, or can recognize you as they pass by your table at a convention.
      • If you’re not comfortable with photos, then hire an illustrator to make a likeness or logo for you, and use the same one everywhere to ensure your branding stays consistent across your whole online presence.
    3. Any other relevant information, like award wins, interesting biographical information (like if you’re a doctor and you write medical thrillers), or your hobbies (I love cosplay, so I included a photo of myself in costume at the end of my bio).
  • What have you written?
    1. A list of all the books you’ve written, in one place that’s easy to read and doesn’t require people to click around too much, including links to read free samples/chapters, and information on:
  • How do I give you money?
    1. A list of buying links, usually on the same page as the list of books you’ve written. Basically, you want to create a flow of as few clicks as possible to get people from Googling your name to clicking a “purchase” button. Make this the simplest and most obvious part of the website.

There’s lots of ways to display the books and buying links on your website, you don’t have to do it the way I have. Here are ways some other authors do it: Ruthanne Reid; Adrienne Kress; Sara Raasch; Julie Czerneda.

That’s really all you have to have on an author website. However, if you want to, you can add more information that answers the questions:

Nice to Have

  • How do I get regular updates from you?
    1. A link to your Newsletter and incentive to sign up. The link can be a popup or a landing page, or in the footer of the page; whatever feels best. Most authors give away an older backlisted title or the first of an ongoing series to entice readers to sign up.
    2. A list of your most active social media handles and an encouragement to follow you there for the most up-to-the-minute info.
  • How do I know you’re legit?
    1. A bibliography and/or list of awards
    2. An interview archive (I just keep a list of all of the newspaper/magazine/blog/podcast interviews I’ve done, with links to each. It’s also useful for myself, so I can go back and reference reviews and good press in my Press Kits in case anyone needs pull quotes for book covers and the likes.)
  • How do I work with you?
    1. I have a page dedicated to laying out how folks can get in contact with me for something beyond simple inquiries and fan-mail, and the workshops and lectures I have ready to present.
  • How do I get an overview of your career?
    1. With a Press/Media Kit. A PDF of  6-10 pages that you send to journos and interviewers that gives them an overview of who you are, what books you have out, major awards and achievements, a one-page biography, photos, etc. You can see my press kit here as an example.
  • How do I contact you?
    1. A contact page that includes:
      1. Social Media handles
      2. Email link or contact form that goes straight to your email or your assistant’s email
      3. Email link or contact form that goes to your agent (if you have one)
      4. Email link or contact form that goes to your booking manager or appearances manager (if you have one)
      5. Information on how to inquire about agent-y things (rights, translation, etc.) if you don’t have an agent (email form or link).

This next group of items are not necessary for an informative website, but I like having them so folks can explore more of who I am and what I do, and to serve as an archive repository for myself.

Fun to Have

  • Galleries of photos from past appearances or talks
  • Galleries of videos, especially if you do a lot of skits or offer advice videos
  • A blog (In my case, I use it for announcements, sharing interviews, and for my Words for Writers advice series)
  • Gifts from fans, including a gallery of fanart, links to fanfic if you’re comfortable sharing that, galleries of photos at signings or of folks in cosplay of your characters, etc.
  • If you are self published, a form that allows bookstores or retailers to order large batches of your books on commission or discount (I don’t have one yet, I’m working on it!)
  • List of upcoming appearances so folks know where they can greet you next.
  • Whatever else you want, it’s your website!

Whatever kind of website you decide to build, remember that it’s totally yours and you can do whatever you like with it. Just make sure that it reflects your professional brand, and makes it easy for people to discover who you are, and to buy your books. The whole site doesn’t have to be done before you launch it, either—I rolled out all these different pages slowly over many years, as I found a need or desire for them.

Happy building!

JM FreyWORDS FOR WRITERS: Your Author Website
Read more