Indie publishing is a vital part of the book world. It enables unagented writers like me to get our books out in the world. But indie publishers not only operate on a shoestring, with tiny profit margins; they also swim in a sea where the big fish – the Big 5 publishers – get most of the publicity, reviews in the national press and book awards. Why? Because those big publishers have the financial clout.
So it is down to us, the readers (I’m a reader as well as a writer) to do help redress the balance. Here are 8 ways we can all do our bit to help independent publishing survive and thrive:
1 Buy direct from indie publishers. That way their income is (unless they choose to offer promotional discounts) the full cover price of the book.
2 Use social media to spread the word about a book you enjoy: Twitter, Facebook, Instagram, Tik Tok (if you know how that works!) and any others I don’t even know about!
3 Review books you like – on your own blog if you have one, and also on Goodreads and Amazon (if it will let you). Even a couple of lines about a book is valuable.
4 Tell a friend, or two. Word of mouth is hugely powerful.
5 Ask your local bookshop to stock a book you’ve enjoyed. Having books on display, available for potential purchasers to browse, really boosts them.
6 Ask your local library to buy a book you’ve enjoyed. You might be surprised how amenable libraries are to this.
And, particularly now, in the run-up to Christmas:
7 Buy books you’ve enjoyed as Christmas presents for your family and friends. Some indie publishers offer Christmas boxes with other goodies alongside their books. Louise Walters Books for example, supplies local Banbury cakes with her books.
8 Submit your favourite books of year to the end-of-year readers’ listings such as that published by The Guardian.
In this time promotional tours for books cannot happen. But fortunately technology gives us alternatives, and I’m taking every opportunity that comes my way to help put the word out about my new book.
For book bloggers this is #NovellaNovember, which is serendipitous rather than planned for my novella In the Sweep of the Bay. It was a pleasure to talk about novellas with writer and blogger Kathryn Eastman for Nut Press. Kath is also doing a generous giveaway of copies of both my books – leave a comment on her blog to be in with a chance.
Then there’s the world of podcasts. I talked with Wayne Kelly recently for The Joined-Up Writing Podcast. Or rather I talked, a lot, and he got a word in edgeways from time to time.
It’s wonderful to have support from other writers. In the run-up to publication of my new novella, I had the great pleasure of talking with the brilliant writer Charmaine Wilkerson, who I have got to know through the international flash fiction community.
CW: Cath, it was a pleasure to read through your lovely novella, In the Sweep of the Bay. Your story spans decades and generations within the life of the family at the centre of this story with such finely textured language and profound insights. How would you describe this novella in one line?
CB: It’s the story of a long marriage and the persistence of happiness, in spite of all obstacles.
CW: Where did the idea of the couple at the centre of the story, Ted and Rene, come from?
CB: I don’t know! Did I see a couple like them, in that café on the seafront in Morecambe that they visited on a day out? I wonder. Certainly I went to that café, and the scene was the first section of the book that I wrote, a snapshot of Ted and Rene in later life. It was a stand-alone flash originally and I called it Keeping the Magic Alive. Thinking about it, that could have been the title of the book – it’s what’s at the core of it.
CW: One of the things I appreciate about all of your writing, not only in this novella, is your use of small, telling details in a story. Often, those details evoke a sense of place, not the least of which is the English bay, Morecambe, which is referred to in the title of the story. Which element tends to come first in terms of inspiration for your story ideas- location, character, or event?
CB: Character, I think, always. Or rather, characters moving through their lives. I see the action scrolling out like a film. You know how in a film you can ‘read’ the characters’ emotions on their faces? That’s what I hope I can conjure up for reader in prose.
CW: In this novella, the sense of place includes the interior settings evoked through your storytelling. The buzz of comradeship at the ceramics factory, the coat shop, a hotel lobby, a marital bed. Do these details just come to you in the writing or do you find you take notes in your daily life which then lend themselves to story scenes?
CB: I do wish I was good at keeping notes, because we are surrounded by characters for stories as we walk down the street, any street, on any day. But I don’t carry a notebook. I do take photographs, though; I think I have a strong visual sense, and (I hope) good intuition.
CW: The end of the story is intriguing. I don’t want to give it away here but I do want to mention that it leaves the reader thinking, is this based on a true story?
CB: No, this is pure fiction.
CW: You frequently publish short stories, in particular, flash fiction? What about your longer projects? What can readers expect to see from you next?
CB: I like the shorter forms, novella, short story, flash fiction. I used to say I’d never write a novel. But I have a couple of longer projects. One is a novel I started in NaNoWriMo in 2018, set in Nepal in the aftermath of an earthquake. The other is what think will end up as a novel based on the life of my Auntie Phyllis, who was a famous circus artiste. I feel a responsibility to write her story. Though, unhelpfully, she left few words, only pictures, so what I write has to be fiction.
However, I may just write another novella – or even two! – first. I do seem to have an affinity with the novella form. I’ve tried writing novellas-in-flash without success, but I’m thinking of having a go at a novelette-in-flash, in which each separate story is under 500 words. I’m taking advantage of Nancy Stohlman’s prompts for FlashNano this month to help me with that.
Charmaine Wilkerson is an American writer who lives in Italy. Her award-winning flash fiction can be found in Best Microfiction 2020 and numerous anthologies and magazines. Her story How to Make a Window Snake won the Bath Novella-in-Flash Award in 2017 and the Saboteur Award for Best Novella in 2018. Her debut novel Black Cake is due to be published in 2022.