This is a guest post from Monika Lee. Monika is a Senior Commissioning Editor at Open University Press, McGraw-Hill Education, executive coach and published author. You can follow her on Twitter @Lee_Monika
Have you ever wondered how long it takes before you can make a living from your blog? Charly Lester, who writes the 30datesblog.com, has done it just in two years. Incredible, given that the amount of online content doubles every 9 to 24 months. Keen to learn how to become a pro, last week I went to Charly’s Guardian Masterclass on ‘How to turn your blog into a brand’ to find out what it takes.
This is a guest post from Cath Senker, who has 25 years’ experience in publishing and has written more than 130 books for children of all ages. She specialises in history, global and social issues, world religions, human geography and environmental topics. Cath also undertakes all kinds of editorial work for publishers and academic institutions and teaches writing skills and English.
Are you a freelance writer? How much did you make from your writing last year?
A Under £11,000
B About £11,000
C Over £11,000
If you answered A or B, you’re one of the majority of authors! Professional writers in the UK typically earn just £11,000 a year (ALCS, 2015). So how can you survive as a freelance author nowadays?
It’s a popular myth that the book cover is dead , but unless bricks and mortar bookstores and online cover thumbnails disappear, that simply isn’t true. In fact, a book’s cover is an integral part of the customer’s buying process because it acts as a signpost for the book’s contents. If your book has the right cover design, genre, intended age of reader and tone can all be communicated in a split second.
Most traditionally published authors have their book covers designed for them by their publishers but self-published authors have to do it all themselves and it’s a hard task. So, here are some top tips to help all you budding book cover designers out there!
It seems to be Awards season at the minute with the Independent Publishing Awards (IPA) just finished and the Bookseller Industry Awards just around the corner. We all know the acclaim that comes from winning an award but what about the process of applying for these awards?
In this interview Emily Cook asks Eloise Millar of Galley Beggar Press for some insight after being recently shortlisted for the IPA Newcomer of the Year award.
1. Firstly, congratulations for being shortlisted for the IPA Newcomer of the Year Award! What was your initial reaction on receiving the news?
Thank you! Only one initial reaction – which was absolute delight.
This is a guest post from Andy Maslen. Andy is a copywriter by trade and Managing Director of Sunfish, a writing agency. He is the best-selling author of Write to Sell and Persuasive Copywriting and founder of the Andy Maslen Copywriting Academy.
1. What is the main difference between digital marketing copy and digital content in general?
I think marketing copy is trying to change someone’s behaviour right now, whereas digital content is trying to change someone’s behaviour at some point in the future.
This is a guest post from Emily and Nic Gibson. They are both directors of Corbas Consulting Ltd and each have over 15 years’ publishing experience, mostly in editorial, print and digital production.
Knowledge is everything they say. To help you get ahead, here are the five things they know about XML that you don’t.
1. You are using XML every day
This is a guest post by Georgiana Ghiciuc. Georgiana is lead content strategist for Beaglecat, an inbound marketing agency with clients in Austria, Germany and the US.
SEO can be life changing, when you know the rules of the game.
Over the past few years, most publishers have been exposed to the idea that, unless you follow a number of SEO guidelines, Google won’t index you, people won’t read your work and you will endure eternal oblivion.
As with everything, SEO rules should be taken with a pinch of salt. Here are some basic tips to help you rank better.
This is a sponsored guest post from Jonathan Griffin. Jonathan is Deputy CEO of the Publishers Licensing Society.
Requesting permission to reuse content for a book – for example a quote, short extract, or a diagram – can be very frustrating.
First of all, there’s the challenge of knowing where to start – who should you be asking the permission from? What are their contact details? Who, within a rights holding organisation (such as a publishers), is the right person to contact? Then, even when you have all the right contact details, how do you know what information to supply? It’s no wonder a third of permissions requests are abandoned – it can be a very time consuming process.
This is a guest post from Emma Barnes. Emma is co-founder of General Products, and indie publisher Snowbooks. General Products is the company behind FutureBook-award-winning Bibliocloud, the web-based all-in-one publishing management system.
Did you go into publishing so that you could spend your days copying and pasting ever-changing metadata from spreadsheets, emails and databases into InDesign? You did? Great. No need to read on.
Norah Myers is known on BookMachine for her blog posts about being an Editorial Assistant. This week she is back with some advice on Reading for an Agency.
Norah studied publishing in London at City University and worked for Picador and Bloomsbury before returning to Canada. She worked for a boutique literary agency before moving to an independent publisher of fiction and nonfiction. She loves yoga, books, and endless cups of tea. @bookish_norah
Before I began my editorial job, I read manuscripts for a literary agency. I read literary fiction, historical fiction, memoir, women’s fiction, psychological thriller, young adult, and work that defied classification. I found it tremendously helpful in the work I do now as an editorial assistant (and a freelance editor). These are the top 5 things I learned when working for an agent:
1. Agents are editors, too
Agents work tirelessly with their authors to develop draft after draft of their manuscripts to make them the most polished they can be before they create book proposals and send them to publishers.