Reed All About Tit by Erastes

42 comments

• 

  I have to add another to the admittedly short list of self-published m/m historical books I *loved*–that would be Icy Pavements by Lee Wyndham (Review) I’m not sure if the author tried to publish it with a mainstream publisher, but if so, I can imagine it would have run into difficulties because of the length.

  But *not* because of the quality. The book is wonderful.

  One of the things that the traditional publishing model provides that self-publishing doesn’t, however, is a gatekeeper. And this is why although there are definitely professional-quality self-published books out there, readers have to do the work of a slush-pile reader to find them.

  • 

    Oh yes, Jess, that was a MONSTER wasn’t it – that would have put many publishers off to start with, which was a shame.

    • 

      Yes, but it was *SO GOOD*. Which is one reason I’m glad self-publishing and distribution is so much easier than it used to be.

      OTOH it means that anyone with an idea and at least two fingers can put something out there….

• 

  Generally, I agree with you. I can’t even count how many times I’ve read a self-published book and thought “My god, this could have been a masterpiece, if only it was edited by someone who knows what they are doing”.

  But… There are always exceptions and authors who self-publish AND know what they are doing/hire professional editors. The latest that comes to mind is The Cranberry Hush by Ben Monopoli. It’s not historical, so I don’t know if it caught your eye, but I commented somewhere else that it was a fine example of self-respect and respect for the readers. Lovely writing, careful editing, the result – fabulous. The examples like this should be pointed out repeatedly. Maybe that way more self-published authors will follow them. And, who knows, maybe even some who write historical fiction. 😉

  • 

    Oh yes, there are gems, but they are so hard to find, and I don’t think they even make 1% of the stuff I find that’s historical. As Leslie says so many people just bung a cover on and think that’s all it needs, and that’s rotten for the people who bring out tightly edited near perfect prose like Wallace’s The Painting.

  • 

    I agree with everything you say; however, it does assume that all professional editors are, indeed, ‘professional’. My first novel, “Two Irish Lads”, was professsionally edited, and had to be rewritten because it contained several syntax errors. My second novel was sent to an editor, too, but we didn’t see eye-to-eye on conceptual stuff. Ergo, I do several rewrites, and have the final draft proofread, but I am twice learly of editors.

• 

  As folks who read my reviews here know, I like searching out self-published “gems.” I do sample lots of duds (thank goodness for the sample feature on Kindle!) before I hit paydirt but when I do, I’m so happy. As LadyM mentioned, The Cranberry Hush was a wonderful find. I also thought The Painting was excellent. Given the subject matter (Nazis, concentration camps, etc.) I can see why the author didn’t have any success with a traditional publisher. I’m glad she went the self-pubbed route because I, as a reader, benifitted greatly from experiencing that story.

  In the self-pubbed world it seems as if there are two kinds of authors: those who have a good story to tell and know how to write and are willing to do the hard work of putting a book together, including finding an editor or beta readers to help polish the final product. Then they come up against the monolith of “big publishing companies” and eventually say, “I can do this myself.” The other type of author is the one who slaps any old thing together, puts a cover on it, and calls it done. Unfortunately, it’s the latter folks who give a bad name to indie publishing and drag down the former–which probably explains why I keep hunting. I know good books are out there, waiting to be found!

  • 

    I’m sure there are a load of great self pubbed books, specially out of my specialist area, but when it comes to gay historicals, not so much. But I travel hopefully!

    • 

      Cool! Where are your reviews of self published gems? Your name isn’t linked to anything.

      • 

        Not sure if you mean Leslie or me – but my review site is here

        http://speakitsname.com/reviews-done/

        If it was Leslie you meant, then I’m sure she will apply her link to her reviews, she’s done some on SIN and some here on Wave’s blog.

• 

  I simply can’t see many of my typos at all. My mind fills in the words in that aren’t there, and when I get my first edits back, sometimes, I’m often baffled (and terribly embarrassed) that the manuscript I thought was “editor-ready” was nowhere near it.

  Oh god yes. How true is that. Every time I get an edited manuscript back, I find something–usually lots of somethings–to bang my head over. I know editors are used to that sort of thing, but you can’t help the embarrassment. I can’t even imagine finding things like that after publication. To me, an editor/proofer is your last chance to make sure your dress isn’t tucked into the back of your pantyhose before you go out in public.

  I’m actually really pleased to see the self-pub explosion, because I know bloody-well that too many mainstream publishers won’t publish the kinds of things I like to read, and self-pub is sometimes the only way I’m going to get to read something I otherwise would never have seen. (You think it’s hard to find good m/m historical–try finding good m/m high fantasy.)

  I understand how difficult it must be for someone without resources to find a good editor and I definitely sympathize. But sometimes sympathy isn’t enough. I can forgive a lot in exchange for a good story, but sometimes, there’s just too much to forgive.

  Still, this whole self-pub thing is so new, and the ‘rules’ are still being made as everyone goes along. I’m kind of watching and sampling and trying to vet the books I buy as much as I can to avoid ending up with a throw-the-Kindle-aginst-the-wall scenario. It seems to me the overall quality can either get better, or much much worse, and since everything is market-driven, I’m optimistic that the cream will eventually rise to the top and set the examples that are somewhat lacking now.

  • 

    The last mss I submitted (won’t shame myself by saying to whom) actually had my own notes still within it. I could have died with shame when I realised. If I’d been them I would have thrown it at my head, but they accepted it anyway! LOL.

    Oh, I love the self-pubbed explosion, I was trying to make that clear–clearly failed!–but the other point I should have made was that some of these books with problems would easily have been picked up by publishers if they’d been tidy.

    The cream will always get noticed, which is good. But we have to wade through the whey to find it.

    • 

      *grin* That’s what you get for being a genre legend. 😉

      I thought you made your enthusiasm for self-pub quite clear, no worries. I was taking the post as a This is such a great thing, don’t screw it up! sort of warning, with which I have to agree. It could all go very wrong; I’m just hoping it goes very right.

      And yeah, the whey. The wading does get tiresome, but the gems make it worth it. Take care. 🙂

• 

  Just a quibble: Christopher Paolini was not self-published. HIs parents owned a publishing company, through which they published his book. A slight but significant difference, as they had the editorial, distribution, and marketing infrastructure in place already.

  • 

    Well, all I was going on was his own biography on his website where he states he was self-published (by the family firm)

• 

  Heehee, I’ve read many reviews from you, Erastes, and I always had the feeling you didn’t care much for books that are self-published. This post just confirms it! 😀

  One of my favorite self-published books is the RBW series by Hoffman – but I’ve read your reviews on those books as well 😉

  • 

    No no no – I didn’t mean to come over that way at all. It doesn’t matter whether the book is self-published or not, I’ve stressed several times here that self-publishing can be a good option for many many reasons.

    But, self published or published by a publishing firm, editing is key, and there are far more unedited (by 3rd parties) (or so it seems by the egregious errors) self pubbed books than there are polished ones. Or at least in gay historicals, as that’s the only expertise I have.

    I’ve only reviewed one of the Hoffman books and yes, I remember it needed a Big Red Pen in terms of bloat. But that’s just my opinion, I don’t recall much in the way of the typos, but that was a long time ago when I read it.

• 

  There are many self published books that are professionally edited. Jaye Valentine and Reno MacLeod publish all of their books under M & V Taliz (some of them were originally pubbed by epublishers like TQ but they were re-edited). However their newer books are all self published and their editing quality is just as high or higher than a few well known epublishers that I won’t name.

  The same thing can be said for Jordan Castillo price who has set up her own indie company (JCP Books) mainly for her own books but she also publishes for Josh Lanyon and recently Sean Kennedy. I believe Jordan outsources her editing. Jay Bell publishes his own books and he does a damn fine job.

  I admit that most of these authors write paranormal/fantasy books which I love so I can only speak for that genre. But like others have said The Cranbury Hush is contemporary and beautifully edited as I remember.

  I don’t know any historical self published authors that I can name off the top but maybe they need to talk to people like Jordan to find out who edits her books. I think Jaye edits all of his and Reno’s books. If self publishing (indie) can develop and establish high editing standards (Dreamspinner was once a small self publishing house if I recall and so was Silver) perhaps other writers can follow their example. However even some established epublishers regularly release books that are shoddily edited.

  • 

    Putting this in the right place this time!

    I think that’s a good suggestion, to contact other well-produced self-publshed authors, but they just don’t, it seems.

    I mean, I’m not self-pubbed but I make it clear on many forums that I like to encourage others, and I’ve never once been approached by someone who asked me to look over something for them. Not that I’m any kind of editor, but I would be able to say “er, you can’t cycle from x to x and back at that time” or “that word didn’t come into use for another fifty years.”

    If I was seriously setting out to self-publish I would find allies. Pluck up my courage and ask people for help. I’m probably luckier because i came through fandom and have a good few betas who came with me, but even so there are dozens and dozens of critique-yahoo groups, where you have to critique three books and then you can put yours up for editing.

    There are ways to seek out help, but I think that some – SOME – of the self pubbed authors just want creative control and that means editing. An editor friend of mine has done private jobs for people who simply couldn’t take the critique. It’s something one just has to learn to take.

    • 

      “I’ve never once been approached by someone who asked me to look over something for them.”

      Actually, you were (*cough, cough*). I agree with you about the importance of editing; I’ve known a few writers who were good enough at self-editing to be able to put out professional products without help from an editor or beta reader, but not many.

      What I’ve noticed is that authors who’ve come from communities that are inclined to encourage peer editing such as beta readers or manuscript critiquers – for example, the fan fiction community or the SF/F community – are much more inclined to seek out editorial help when they self-publish. This being the case, I’ve actually been much more concerned about the quality of book design – particularly for print books, where the traditional rules are complex – because there is no tradition in fiction communities of peer oversight for book design. Many writers have read “The Elements of Style” and other style guides for writing; very few have even heard of important design books such as “The Elements of Typographic Style.” What makes it worse is that the rules for e-book design are still being written.

• 

  One thing that irks me is continually being mistaken for self-pubbed when there are at least 4 different houses in evidence on the covers of my paperbacks! when I’m standing behind the rack, and someone looks squarely at the Ellora’s Cave Aeon banner one the cover and asks if I’m self-published, I am always tempted to say “No, but I think you’re probably too stupid to read the book if you can’t even read the cover!” I bite my tongue and try to close the sale instead.

  Worse, there’s an A Sparrow out there not only self-publishing, but giving the stuff away.

  Editing is the biggest problem. Content editing and line editing are both vital. I’ve read small press books that were hideously formatted yet awesome, or badly edited for content or so good I failed to notice bad copy editing (they removed all her scene breaks in one chapter)

  A good editor brings out the best in a writer. I have a couple of very very good ones. My stuff is almost never camera ready. I have leaps in logic and continuity, a distressing habit of underwriting to the point of obscuration, and lots of typos.

  My self-published stuff is all previously published shorts that no one else wants to reprint. (but it looks like I’m about to become a small press and branch into nonfiction!)

  • 

    ack – doesn’t help when there’s someone with a similar name out there muddying the waters. Someone on Amazon recently was self publishing terrible books (bought one and they were dreadful, overpriced and much else) with names very similar to other authors, which is a worry.

    You do well under editing though, Angelia, as I well know, you take critique well.

• 

  Editing is key. When I self-pubbed, I hired a professional editor which I’m not ashamed to say cost me thousands and really helped to strengthen the story and save me from a lot of embarrassment.

  One small correction: Ruth Sims did not start out self-published. “Without Sanction” was originally published by Alyson in 1993 and as Alyson never keeps anything in print very long, she then changed it into “The Phoenix” and republished it herself and then of course it was later picked up by Lethe Press.

  • 

    Hi Mark – I never said Ruth started out self-published, I said she self-published her book which was later published by a publisher.

    It was worth it though, wasn’t it? The Filly is such a good book.

• 

  I agree with everything you say, Erastes, but I would like to point out that I have read plenty of books that are NOT self-published that suffer from the same errors. To my sorrow, I have way too many books published by the bigger publishers in the m/m genre that make me say “WHAT was that editor THINKING?”

  This is why I read all the reviews here. I apologize to (and am deeply grateful for) all the reviewers here who read through the not-so-good books so I don’t have to. :hearts02:

  • 

    I agree with you, Kiracee–but in that case, the author has less control, one of my books has a good few typos in it that i didn’t spot, and sadly, my author didn’t spot either. BUT – in that case it looks bad on the publisher, NOT on the author, because readers know that the author wasn’t really responsible for the finished product.

    and yes – Wave’s blog is probably one of the very few that will be honest about a book, which is refreshing and great.

• 

  Hm. Didn’t Alex Beecroft self-pub “Witch’s Boy?” I know she’s since placed it elsewhere and the original POD was beastly expensive, but it was exceptional. (Of course, it’s NOT gay historical…)

  Offhand, The Filly is the only readable self-pub book I can think of, but there must be some others. If a book is good, I don’t really pay too much attention to whether it’s self-pub or not, if it’s awful I just make a mental note that I probably won’t like that writer’s other stuff. I’ve read awful pro stuff, too, sad to say. Writing and rewriting my own stories has made me far more critical of other writers’ work–I really count on review sites to let me know when something is riddled with typos or other problems.

  And, yeah, I think self-publishing is POTENTIALLY a great thing, but many writers who go that route really aren’t doing themselves any favors. I could sometimes shake Josh Lanyon for that blasted book on writing m/m, because I think it encouraged a lot of people who were really not ready for publication to throw their stuff into the ring. Writing is fun, but it’s also work. Rex Stout may have been able to write one draft and go with it, but even he had editors.

  As for that ‘fill in the blank’ thing? Everybody has that to some degree. It doesn’t even have to be your own writing. There was a study at Cambridge that gave people horribly scrambled paragraphs and they were still able to comprehend them. Over here: http://www.notsoboringlife.com/ramblings/mixed-up-words/

  • 

    Yes – I’d forgotten about Alex – wish I’d cited her now and not Keegan!

    I have read a few well edited self pubbed book, but they are as rare as hen’s teeth.

• 

  I’m reading a self-published book at the moment – admittedly not a historical or even fiction, being the memoirs of a houseboy in a gay menage relationship (Fun With Dick and Shane by Gillibran Brown). It’s a great read but I have noticed a few typos and part of me wants to email the author offering my services as a beta reader in future. I’m not going to – I have enough on my plate right now – but yes, typos are frustrating. I’m inclined to forgive Gilli, though, as he’s written such a funny and honest book.

  It’s the typos and errors in books that have come from the smaller presses I find most irritating. I definitely give self-pubbers a bit more leeway. Not too much, though, and they’ve got to tell a bloody good story if they want me to forget the typos.

  • 

    Agree with you – and gah. I hate spoofy titles, too. Another pet peeve…

    I should have called myself Peeves, not Erastes. 😀

    • 

      Maybe there should be a peeve-fest. My own pet title-peeve is when someone takes the name of a very successful film or song and uses it for a book. I know you can’t copyright titles, but that seems to me such a blatant grab for search engine attention. I’m sure it works, but I don’t respect an author for using it.

• 

  Hello! *waves*
  interesting discussion…if i may join in?
  currently i am a self published author.
  ill try and keep this short! lol
  ive read and written male/male themes for a long time. i used to read fan fiction but never wrote any, what i wrote were half hearted fantasies. last year i wrote a story i thought was actually good enough to share, i met a friend who happens to convert text into ebook format, and i was able to actually publish something which made me very happy.
  apart from the technical side of formatting, which i left to my friend, with the book i had no help apart from 1 friend reading the first couple of chapters. after that i felt like i was bullying people to help me, so i had to do everything myself.
  since publishing on amazon and re-reading my book with fresh eyes i did see typo’s, which pained me. so i took the book down and re-edited it. i know theres still 1 typo there now, but at the moment ive just had to leave it! lol

  since my circumstances changed ive had more time to browse the net, ive found some great communities, like yourselves, and on goodreads, where ive found people who were actually EAGER to beta read (which has been amazing!) and offer helpful advice.
  ive also had a look around at publishing houses and have currently submitted a new manuscript to see if anyone wants it, lol.
  not that i dont mind self publishing, its more the promotional aspect. to me, the more people see my work and enjoy it the better. if a publisher wants to help me promo my book then thats great, otherwise im happy.
  my book is currently rating 4.35 on goodreads, and i think its good. its not the best in the world, but when i read some published work out there im sorry to say, its a lot better than that!!

  if you want to read it and tell me if its a gem let me know, id like more reviews on my book.
  whether self published or with a publisher, you’ll be seeing alot more of me because its down to the author if something is good, the odd typo non withstanding, if its good its good, if it sucks no editor on earth can save you.
  lol!! 🙂

  hope that wasnt too long!! 😯

• 

  Someone explained to me a long time ago why proofreading your own material is a bad idea. It’s because you’re seeing what’s supposed to be there and not what is actually on the written page.

  As a voracious reader, I beg of you, PLEASE, PLEASE let someone else proofread/edit your books. Nothing ruins a book for me faster than name/character switches, continuity errors, typos and grammar mistakes. I am not a writer so I will not pretend to understand the process one goes through but I do have a hard time understanding the (seemingly) complete inattention to detail that plague some books.

  A perfect example of this is A.M. Riley’s Amor en Retrogrado. I thought it was a really great book but the character name switch near the end drove me crazy. Instead of being engrossed in the story, I became thoroughly distracted by why and how that happens. The book was not self-published either so there really was no excuse for it.

  When I find an author I like I tend to read all of their stuff. So you should do yourselves a favor and let someone else edit for you. I can’t speak for all readers, of course, but I know that I wouldn’t pick up a second book by an author whose first offering was a mess.

  Thanks for this post Erastes. You’ve really hit on my pet peeve!

  • 

    Thanks, Laura and thank you for commenting!

    What I get from some authors–when I point out this stuff, is “oh it’s only fantasy anyway” (presumably because they think that gay men didn’t get it on in times of yore -“so why does it matter?”

    Writers with that attitude need to have their writing fingers broken.

• 

  LOL i would happily ‘let’ a good proof reader find my mistakes, cant speak for others but i cant afford a pro service and am waiting to see if any editors want to take me on, so penniless writer that i am have to rely on friends to spot mistakes.
  and all humans are fallible; my friend said 3 proof readers missed the same mistake in his work, and ive just chortled to myself when ive read a passage from a big published paper book and seen mistakes.

  this said, i think it would be a good place to point out that the MM romance group on good reads has a ‘be/want a master beta’ thread.
  tee hee!! 😀

  • 

    There are lots of no-charge editing places, Melanie. I started out on a yahoo group where you have to read and crit or edit three or so chapters before you can put your own stuff out there.

    All books have mistakes in them, but there’s a difference to “oops, we missed that one word on page 220 and another on page 23” to “this author can’t spell, hasn’t bothered to run this by anyone.”

    I do think that if people can’t be bothered to get anyone to edit their work–then they really shouldn’t be self-publishing, it just insults the reader. I found a blurb on Amazon the other day which actually said “this is the first draft, my unedited manuscript” – my response was “this is me walking away with my money.”

    • 

      I found a blurb on Amazon the other day which actually said “this is the first draft, my unedited manuscript”

      Oh, tell me about it. I’ve seen a thing where the person couldn’t be bothered to run a spell-check before submitting, and admitted it in a kind of “aren’t I cute, here’s my mess for you to fix” way. I’m all for parents encouraging a kid’s creativity, and that’s necessary. However, when you’re asking someone to pay hard-earned money for your work, the spontaneous outpourings of creativity just don’t hack it. Rex Stout may have been able to do his novels in one draft, but even he had an editor.

• 

  A pro editor I’ve known for ages suggests reading a draft line by line, FROM THE BOTTOM of the page, backwards. The mind doesn’t fill in the blanks when it’s confronted with words in an unexpected order.

  I don’t always do this myself–it is difficult–but it’s usually effective.

  • 

    Crivens! I don’t think I could do that! My eyes would explode. 😯

• 

  Lee, ROFL ill give that a try! ;p

  its like someone else suggested to beat writers block try thinking about your story whilst walking backwards!! 😕

• 

  Hi folks,

  It’s Jade here – editor and cover artist from DreamCraft, just needing to set right a couple of factual errors in the article. It states above that Mel Keegan started his own publishing house; and that he more than likely hires professional editors at pro editing pay scales, to ensure tip-top manuscript qualities.

  In fact, this is far from correct – though I realize a great many self-marketing authors could wish otherwise! The information regarding the foundation of DreamCraft is given on Mel’s website, as well as on our own website:

  http://www.dream-craft.com/about.html

  …but to save you the trip over there, I’ll paste it in here: “DreamCraft began in 1995 as a multimedia studio and circa 2000 we branched into book packaging and small publishing. Since then we’ve worked with numerous writers to package and market books on a vast variety of subjects, from nature magic to fine food. Currently, we’re working with several writers in the GLBT fiction arena, and closer to Christmas 2011 we’ll be releasing a range of cookbooks.”

  In fact, Mel Keegan came to DreamCraft in 2000, when GMP Publsher Ltd., in London, died in a fiscal paroxysm involving its being sold to Prowler Press, which was subsequently sold to the Millivres Group which, in the next twelve months, discontinued its paperback list and left more than a few writers high and dry. MK found himself needing a publisher to take over his list, and at the same moment DreamCraft – then a 5-year-old multimedia studio – was running an experiment. We were several years ahead of the curve: we wanted to retail ebooks, but with download speeds being so slow in the late 1990s we were experimenting with books-on-disk. Would readers buy big-file ebooks – too large to be downloaded at the modem speeds of the day – on CD-Rom? Since CD-Rom was where we lived in those days, what we needed was content, and we were talking to all kinds of writers. Mel is local – we’re all in the fair city of Adelaide, South Australia – and better yet, we were already well acquainted. It was a natural move for MK to come to us…

  But no, Mel did not “start” DreamCraft, and DC remains a multimedia studio even now, rather than a traditional publishing house. Having said that, book publishing by now accounts for a large percentage of what we do, and it’s my hope that in the future this arm of the business will expand and squeeze out the rest of the work – simply because I vastly more enjoy the process of editing and illustrating over staring at pages of code!

  Which brings me to the other error in the article above. I am the editor at DreamCraft, and Mel’s new works arrive on my desk on jumpdrives, pristine and yet-unread. The reasons the Keegan books are impeccably well prepped prior to issue are twofold. As an editor, I’m incredibly lucky that MK delivers flawless copy. All I do is proofread it … and as anyone who ever read the old GMP editions would know, MK is not the world’s most accurate typist! Far from it. GMP seldom proofread properly, while Millivres was guilty of publishing one work, Aquamarine, directly from the raw files which Mel had emailed to them from Fairbanks, Alaska, where the book was written. However, in the hands of DreamCraft, all MK’s documents are proofread – as clearly distinct from being edited in any way! – five times, by different pairs of eyeballs, before being committed to release.

  By the same token, MK is incredibly lucky to have joined us and to have access to our book packaging and marketing mechanism, because – as readers on this site will most likely know – professional fees run upwards of $75/hour, even if a pro editor finds him- or herself doing no more than a proofreading job. You’re probably aware that Mel’s books are very large indeed. Pro fees charged for a document the size of, for instance, Dangerous Moonlight or Nocturne, would run to a couple of thousand dollars before the book were released.

  The other side to this question is, how much can an ebook or short-run paperback reasonably earn, to rationalize the investment in such pro editing services, when paid by the self-marketing writer? The bottom line is that a shorter book needing a thorough edit, or a very large book requiring merely professional proofreading services, would need to sell around 300 copies to break even (calculated from the maximum price allowed by Amazon Kindle of $9.99 to qualify for their 70% royalty deal). And of course, only a very small percentage of the books which do their business outside the marketing streams dominated by the traditional and mainstream publishers go on to sell more than this number.

  In fact, the ongoing success of the Mel Keegan list rests on two foundations: Mel’s ability to deliver flawless copy which doesn’t consume great gobs of an editor’s time (meaning, my time!) and DreamCraft’s ability, as an existing multimedia studio, to both package books to a professional standard and to get them into the online stores where the majority of today’s book retail trade takes place. The work is a collaboration — and this is the same arrangement we have with several other writers who came aboard with us since 2000.

  Hope this serves to set the matter to rights! I know some of the information here is not what self-marketing writers want to hear … modest sales, correspondingly modest royalties, the high cost of professional editing and marketing services, all conspire to place successful publishing on a level with the holy grail. All I can add here is to exhort writers not to work in a vacuum. Network with friends, make the acquaintance of a postgrad student to whom the nuts and bolts of the language are second nature, and who would enjoy editing as part of a creative collaboration, for a share of the profits. Find someone who knows how the business of bookselling really works – don’t be shocked into painful awareness by the retail pricing structure of physical bookstores! Know the waters you’re navigating before you set out, and be as cautious as you’re resourceful. Such publishing models can and do work.

  Good luck to all those who are treading the self-marketing path. Sometimes it’s like taking a machete and going bushwhacking, but it can be a lot of fun, and a great education — as well as a lucrative enterprise.

  My best,
  Jade (editor, DreamCraft)

  • 

    I apologise (Jessewave, can you put a sentence in explaining my error?)

    I was going on the many articles Mel has written saying how self-publishing is such a great option and has worked for her. such as this one

    http://mel-keegan.blogspot.com/2009/02/pod-publishing-why-do-it-and-

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