Indie Publishing Cost Analysis – Part I

The Creative Penn has a  post about the cost of indie publishing wherein she describes a sliding scale of possible expenditure by the indie author. At the low end, the enterprising and spendthrift indie can publish a book for about five bucks.  At the high end, an enterprising and astoundingly wealthy indie can spend over thirty thousand to achieve basically the same thing.  Note that I said basically, not exactly; the quality and distribution channels that come with a 30K price tag will surpass what you get for five dollars.  However, really great stories remain great, even if they’re written on free napkins with a stolen pen.  The problem there is that any work published that way is not only greatly limited in circulation, but limited in lifespan, too, because napkins have their ways of getting soggy or destroyed.  While I don’t intend to release  jewel-encrusted print editions, I want something a bit more accessible and lasting than a napkin:  I want a paperback and various electronic formats.

I’m more enterprising than I am astoundingly wealthy, so even my highest expenditures must be magnitudes lower than 30K.  But how low can I go? How low should I go?  What expenses can I cut, and still get what I want?  What is the least I can spend to get a version of my book to market?

To get a general illustration of how expenses might look, I did a quick workup of some various cost paths.  Bear in mind that these numbers are all rough estimates, and I could be missing important costs or vastly underestimating actual expenses. They are designed to give a very nonspecific picture of how much or how little I, or any any indie, could expend given the assumptions listed below.

The assumptions I made in generating my estimates are:

1.  Print cost is based on a 300 page, 6×9 POD by CreateSpace.

2.  I try to be economical where I can, especially with the print editions:

  • On cost paths where I purchase more than a couple of books, I upgrade to CreateSpace Pro to get the author copy discount; the CreateSpace Pro fee is included  where applicable.
  • On cost paths where I purchase very few books, I do not upgrade to CreateSpace Pro; the price difference for not getting the author copy discount is included in the price of the books.

3.   The cover design is a set fee of $500 for development of a single high-impact image that will look good in color, in black and white, and at thumbnail size.

4.  The editing and proofing are calculated at $30 – $35 an hour, with a cap at $600.

5.  Another aspect of being economical comes with the decision of how many ISBNs to purchase:

  • When more than one version of a book format is being published, the ISBN price is for the discounted 10 pack.
  • Otherwise, I buy only 1 ISBN.

6.  Copyright registration is a one time fee.

7.  The cost of a single barcode is included only when a physical edition of the book will be produced.

Analysis : A Realistic ‘All In’ Cost Path

The ‘all in’ path includes what I would have to pay for everything I can think of to help me market and publish my book. This is a realistic view that excludes expenses I have already decided are out of scope.  A few out of scope expenditures include web hosting, custom site design, and release of a hardback book.

I break out the expenses into four main categories: marketing, publishing, research and book deliverables.  I consider  ‘deliverables’ to include anything that directly impacts a reader’s experience of the book, such as the quality of editing or the cover design.  Marketing costs include a smartphone and associated dataplan for connectivity at all times;  a digital camera for book trailers and blog posts;  a Kindle for verifying formatting; and author copies for giveaways or promotions.  ISBN, barcode, copyright registration and the CreateSpace Pro fee are publishing costs. Research materials include books on WordPress, MovieMaker, Kindle formatting, and the indie author guide.  That leaves editing, proofing, and cover design as book deliverables .

Here is what the pie chart looks like:

Click for larger size.

This pie chart shows the percentage of money spent for each category:

Click for larger image.

Total Cost :  $3,562.99

The total cost is well below 30K, which is a very good thing!  What interests me is the final breakdown of percentages.  The publishing costs and book deliverables account for 58 percent of the total pie, and that is for both the paperback and any e-formats.   If my budget is tighter than what it takes to go ‘all in,’ what can I cut?  What makes sense to cut?

Want to see more indie publishing cost analysis?  Then check back for the next post in this series!  I’ll go over a more barebones cost path and an e-book only cost path!

 

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Boobies! (or, How I Accepted Myself as a Horror Writer)

Sometime around the seventh grade, other girls began to get boobs.  Honest to goodness breasts that required honest to goodness support and garnered honest to goodness attention.  My genetics made me a lot of things, but being a big booby girl was never in the ribonucleic cards for me.

For years, I felt awkward and unattractive.  I was a mess of self-doubt all because I didn’t look the way I thought I should look.  It wasn’t until my late twenties that I accepted my body and I began to feel at home being myself.

How does this have anything to do with writing?  Or horror writing in particular?  Well, for me, the process of accepting my body mirrors the experience I had in accepting myself as a horror writer.

When I started writing stories, I was convinced the only works that ‘mattered’ were Literary Works. I eschewed mass-produced fiction and felt superior to people who expressed an interest in genre writing. I was a snob who read horror novels in places where no one knew me, like the airport.

When I started writing, I was full of BS!  First of all,  where was my debate, careful thought, and good definition of what it meant for something to be literary? Second, where was my self reflection, where were the questions as to how I could love horror so much when no one was looking? Third, where were my boobs?

From 2005 until 2009, I wrote short stories. When I had about 30 stories, I played with the idea of putting together a collection of shorts.  I set about reading and organizing everything I’d written. It was an Event. A Discovery. Nothing short of a Revelation. Everything I had written that really had heat could be classified as horror!

Horror!

By this time, I was less of a snob.  I felt let down by the contemporary works labeled as “Literary.” I’d grown impatient with books that tried to be so clever with their metafiction and their own cleverness that they didn’t carry a story. I was bored of being tricked, bamboozled and led.  I wanted to read books that swept me away. I wanted to be seduced, not analyzed. I wanted a good read.

I gave myself permission to explore all the sections of the bookstore. I read what I wanted, no matter who might see me. I devoured horror novels. I searched for female horror writers and discovered Elizabeth Hand and Alexandra Sokoloff, whose writings prove that horror can be well written, absorbing, even beautiful. I rediscovered Steven King and was absolutely blown away by THE SHINING, a novel that works on so many different levels it transcends any narrow categorization. I was loving my reading with a depth and fervor that I hadn’t felt since the onset of my snobbery. I was a happy reader.

And I was a very, very uncomfortable writer. I had never considered writing horror, yet horror is what I wrote. I found it difficult to accept and for a long time did not tell anyone what sort of works I produced. I even tried to write some stories that were consciously engineered to be devoid of anything supernatural, horrifying, or creepy. Those were terrible stories!  They reminded me of a bra I once bought that promised to make me look two cup sizes bigger and jiggle! All I ended up doing was looking silly and bumping into stuff because I wasn’t used to my chest protruding that far away from my body. I’m built more like Milla Jovavich than Christina Hendricks, and that’s just a simple fact of life. I write tales that have more in common with Dean Koontz than with F. Scott Fitzgerald, and that’s just a simple fact of life.

I’m flat chested and I write horror.   And I’m okay with that.  Finally!

 

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