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What does self-publishing mean?

What does self-publishing mean?

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Self-publishing means more than just uploading a manuscript to KDP or paying someone to publish your book. In a world domineered by traditional publishers who cherry-pick which manuscripts get to be published, self-publishing gives authors’ back their freedom and autonomy. This is because self-publishing gives authors—not publishers—the ability to decide that their stories are worthy of being heard.

Authors who self-publish their books feel the empowerment and fulfilment that self-publishing provides. When you hold your beautifully, professionally designed and printed book in your hands, and you know that you alone have ownership over it, it can be extremely rewarding. The satisfaction and pride you feel when you realise that you have made something that is out on bookshelves and in the hands of readers is unparalleled.

Contents

1. It means authors regaining control​
2. It means having creative freedom
3. It means having your book published quicker
4. It means getting to interact with your readership
5. It means greater financial reward for authors

1. It means authors regaining control

With the advancements of technology and the internet, self-publishing has become so much more accessible and viable for authors who want to publish their book outside of traditional means. It also means that authors can take more control of their publishing journey. There are many ways that you can self-publish a book, including completely independently through services like Kindle Direct Publishing, or assisted through a self-publisher or a hybrid publisher.

1.1 Publishing your book completely independently

Choosing to publish your book without the assistance of a self-publisher / hybrid publisher can be quite difficult, but is possible. There are a few things you need to be aware of when considering this option:

Editing is integral

Everyone would like to think that their book is perfect, but it’s rarely the case. Readers will be able to tell pretty quickly whether a boo has been edited or not. This means that it’s important to consider having someone—if not a professional editor, then a at least a well-read and literate friend/family member—look over your manuscript and correct any errors that are present. There are different kinds of editing, which we go over in our blog post about editing.

Book cover design matters

Everyone knows the saying “Don’t judge a book by its cover,” we’ve even said it a few times in other blog posts, and this is because it’s not true. The first thing that your potential readers will see when they look at your book is the cover. Your book cover is your front-line marketing salesman—its main purpose is to persuade readers to first pick the book up and then to keep it. Having a professional designer create your book cover is an excellent way to ensure that you’re presenting your book well to your potential readers.

Typesetting also matters

The design of a book’s interior is just as important as the book cover, only for different reasons. It focuses on the look of a books interior and how the design interacts with the text, but also focuses on readability, searchability, and accessibility. This means that if your book is typeset correctly, the readers will have an enjoyable reading experience and won’t be distracted by errors in typesetting that draw their eye. If you’re unsure if you can do this properly, it’s always best to hire a professional.

Every book needs an ISBN

While there are some exceptions (read our blog post on ISBNs), every book in the market is required to have an ISBN. ISBNs are International Standard Book Numbers that are required by distributors and retailers for sales tracking and cataloguing purposes. Because ISBNs are unique to their assigned book, while titles and covers can be very similar to each other, ISBNs are instrumental to your book’s online searchability. You must purchase an ISBN for your book. If you live and publish in Australia, Thorpe Bowker is the ISBN provider you need.

You have to organise your own printing

Most if not all self-publishers and hybrid publishers have connections to printers. If you publish your book completely independently, however, you’ll have to approach printers yourself to discuss printing. This can be daunting and confusing as there are many different options out there regarding printers, book formats, paper types, and more.

You’ll need to set up your own distribution methods

If you publish your book through services like KDP, you will automatically be set up on Amazon and can then take it further by approaching other retailers to sell your book. Some online retailers do have specific requirements regarding the formatting and distribution of their books, so make sure to check their guidelines before you publish on them. Bookstore distribution can be a little difficult for self-published authors. This is because bookstores are wary of the quality and sales-value of self-published books as some authors cut corners and do not properly produce their books.

Book marketing is ongoing

Self-published authors have to work hard and continuously to get their books into the minds of readers, but there are certainly strategies that can help. For help on how to do this, read our blog post on marketing for self-published authors.

1.2 Publishing your book with a self-publisher / hybrid publisher

If you decide to publish your book through a self-publisher / hybrid publisher, they will usually assist you with all aspects of your publishing journey. This is not to say that they will force you to do something you don’t want to, however. You, the author, are still the primary authority on all decisions made during the publishing process of your book.

When you choose to go with a self-publisher or hybrid publisher, you can get assistance you with the following:

Editing your book

Whether they do this in-house or out-source editing to partnered companies, they will help you to get your book professionally edited.

Designing your book

These companies often have their own design studios or out-source to freelance designers. It’s good to look at their past covers to determine whether you’re happy with the quality of work they can produce.

Getting the right printer

As I said earlier, printers and publishing companies deal with each other often and usually have connections with one another. When choosing to go with a publisher, they will advise you on format, paper, appropriate printers, and more, taking the stress out of this step.

Organising proper distribution

Not all self-publishing companies do this, but reputable ones provide their authors with an ISBN and enable their book for distribution with online retailers. Some also have contacts or a good reputation with bookstore distributors and retailers and can help you get your book into places like that, too.

Assistance with marketing

Some companies offer marketing services, some don’t. It’s best to do your research when deciding on which company to go with. Green Hill offers marketing services on an hourly basis to our authors.

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2. It means having creative freedom

In the same vein as maintaining control, self-publishing also allows authors to exert control over the creative aspects of their publishing journey, both the book itself and the author’s “author persona”.

2.1 Control your book design

Only extremely established authors in the traditional publishing sphere have any kind of say over their book cover or typesetting design. On the other hand, self-published authors maintain control over the design of their book—both the cover and the typesetting.

This can happen in one of two ways:

  1. You can design your book yourself: If you have access to design software and an aptitude for design, you may be able to make your own book cover and typesetting. The Adobe Suite is best for this. If you do choose to DIY, however, make sure that you do your research and get in contact with your printer—they will need you to meet specific parameters.
  2. Hire a professional book designer: Whether you contract a freelance book designer or go through a self-publisher / hybrid publisher, having a professional, experience, and trade-educated book designer is always a good idea. This will mean that your book will be up to market quality and can compete with others in the genre. You’ll be able to give the designer a creative brief of what you want on the cover, and they will give you options and suggest great ideas that you might not have thought of.

2.2 Control your author persona

Many traditionally published authors are forced to have their social media accounts filtered by a marketing team. Meanwhile, as a self-published author, you have complete control over your author persona and how you present yourself to readers. More on this point later in point 4.

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3. It means having your book published quicker

Having your book published through traditional means could anywhere from 12 months and three years. This doesn’t even account for the time it takes to find and be accepted by a literary agent or the time it takes for a publisher to accept your manuscript for publishing. On the contrary, self-publishers and hybrid publishers are much quicker plus you don’t have to worry about finding a literary agent. If things go smoothly, you could be holding your book in 6-8 weeks—this is the timeline you’ll get with Green Hill Publishing. That is an undeniably more appealing timeline, right?

A short timeline like this can be especially important for those with ill loved ones, or businesses with strict deadlines that need to be met. It also means that you won’t have to wait a year or more to see your idea be fully realised and achieve the dream of being a published author.

Your timeline with self-publishing can be pushed out if you get editing, ghost writing, illustration, or other extra production services. However, if your self-publisher or hybrid publisher suggests these things, it’s usually for a reason. It’s up to you whether you decide to take it on board or not.

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4. It means getting to interact with your readership

To be in control of your author persona means that you are in charge of your social media, your book events, your launches, your website—everything. In doing this, you have the freedom to interact with your readers in your own way. You can interact with what people are posting about you as an author and your book, allowing you to answer their questions, pose your own, receive feedback, and interact with their creativity (e.g. fanart and fanfiction).

Self-published authors also have control over their own marketing. This includes promotional social media marketing, book launches and events, and author websites. When you have control over these aspects of your author persona, you can write your own blog posts, host your own livestreams and webinars, create videos and graphics, and use any number of other marketing strategies to ger your readers to interact with you and each other. This all means that you can present your author persona how you want—choosing your own aesthetic and strategies without the influence of a marketing team. This lets you show your readers the real you.

Doing all of this fosters a closer relationship between author and audience, building a community of loyal fans and helping you to appreciate your readers more.

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5. It means greater financial reward for authors

Typically, traditionally published authors only see a small percentage of their book’s profits. This can be around 10-15%. On the other hand, self-published authors receive a much higher percentage. If you put time into your publishing project—from the first spark of inspiration, to having a professionally edited and designed book, to organising printing, and finally to marketing—you as a self-published author could see 70% or more of your book’s profits. This is a much higher percentage and more fairly reflects the effort and work that you, the author, have put into your book.

For many authors, this means that their writing is funded and their career as an author is viable financially. While financial success is not guaranteed for authors—self-published and traditionally published alike—self-published authors not only receive more of their sales profits, they can better control their income and what they invest in, like publicists, agents, and their next publishing project.

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Do book covers need to be meaningful?

Do book covers need to be meaningful?

Book covers are a very important part of book design and book marketing. So I understand why book cover design can be a element of focus (and sometimes angst) for independent authors. Often authors overthink their covers, putting too much emphasis on the interpretive meaning. They want their covers to do the impossible – convey everything about their book, extending even to subplots and the book’s nuances. The problem is that readers (or book buyers) simply won’t understand the cover.  These covers can end up looking really poor.

Contents

1. The common issue with “meaningful covers”
2. Aesthetics are critical
3. The formula for book cover mediocrity
4. Is your book too complex for the cover to convey meaning

The common issue with “meaningful covers”

We often have authors who provide a sometimes detailed cover brief asking for the cover to convey meaning. Also common is the request to make the cover suitable for readers, the author’s reader target audience.

Authors ask:

  1. Can you visually demonstrate what the book is about? I want the cover to explain the book at a single glance – what the book means, and
  2. Can you make the cover appeal to the target audience?

Often this sort of brief is because the author is overthinking everything. Or the author doesn’t understand that cover design is largely about ‘art’ and not ‘science’. Authors may want the cover to do the impossible.

1.1 On point one

This is often overly ambitious. Authors can give several parameters that the cover design needs to achieve and often this is an impossible task for a book cover design. A book of 70,000 words is so long because the author needs to build a complex argument – to convey their thesis or ideas to the reader. It’s words, words and more words. There might be one big idea and a dozen supporting ideas. With this approach to design briefing the result is a book cover design that might look a little like a pizza, a smashing together of images that try to convey meaning (or reflect the book’s many elements). Aesthetically the cover design might be poor or unpleasant to view. Readers usually have great difficulty de-coding or understanding what the cover is about. In a marketing sense this is the worst possible outcome. The cover looks bad and the reader finds it confusing.

1.2 On point two

This is a big ask. Having read a ‘marketing 101’ business book that outlined the concept of ‘targeting’, one author said I want the book to appeal to women aged 35-45 years, medical professionals, who are thought leaders. But also make it desirable for men and the general public of all readers. This might be possible (the first parameter) with some market research and psychographic profiling. But its near impossible. Even if research was done the book designer would have to apply those findings in a graphic sense. For example 35% of one target group may ‘have high concern about global warming’, ‘32% may ‘not fear global warming’. The data is inconclusive. One author briefed can you make it just a little bit ‘environmental’. It’s the sort of thing that isn’t actionable by a book designer.

One author told our book designer that the cover couldn’t be green because that colour does not appeal to women aged 65+. Another said the cover font can’t be in all capitals rather in upper and lower case,  because it appears ‘too blocky’ or ‘regimented’ and the young men under 25 years he is targeting are freethinkers. These examples are bizarre but true!

When point 1 and point 2 combine there’s trouble brewing. And it can get even worse, much worse (see Section 3 below).

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2. Aesthetics are critical

Often the best book cover designs are too ambitious purely because of the author’s desire to convey complexity of meaning. An ugly cover can be the result, and the vast majority of readers simply won’t purchase or even pick up an ugly book.

The book designer has aesthetics top of mind, and these can often be in conflict with the author’s personal preferences. The best book cover designs are when the book designer is granted creative license.

Book cover artwork can be purely decorative. This can mean using a pattern or texture or simply colour. Decoration as an aesthetic art form was pioneered by master artists like Henri Matisse and Piet Mondrian and of course is an enduring feature of Islamic art. And patterns are so pleasing to the human eye – its why wallpaper is so popular!

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3. The formula for book cover mediocrity

(Point 1 + Point 2) x (author’s aesthetic preferences) = a very bad book cover.

There’s a third part of the ‘formula’. That is the author’s aesthetic preference or preconceptions.

A really fine author with a non-fiction self-help guide stumbled at the last hurdle of book cover design. The book cover was orange. He remarked ‘we can’t have that because of Donald Trump… the book won’t sell with an orange cover”. Why? ‘Because Donald Trump is called “Orange Man” ‘. To demonstrate the folly of this thinking I said ‘the orange growing industry in California must be in real trouble’… he got my point.

Another author didn’t want ‘white space’ on the cover because it ‘says to the reader I don’t have much to say’. Another said ‘I don’t like the colour blue’, another said ‘no primary colours, I don’t like bright colours’. The trouble with this sort of instruction to a book designer is that the author is designing the book cover for themselves, not for the market. And it ‘cramps’ the book designer’s greatest power – the ability to craft a great book design with nuanced creative decision making.

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4. Is your book too complex for the cover to convey meaning?

If the answer is ‘yes’, what then? You don’t need to have a cover tell the whole story. You don’t need a book cover to have meaning. A powerful alternative is to have the cover artwork set the ‘mood’ or ‘tone’.

Often with non-fiction books, a good design approach is to use text/typography, colour, shape and pattern.

Nothing beats a great title… Ken Blanchard’s ‘One Minute Manager’ is an awesome title that injects meaning. But then the title combined with shape and colour makes for a very effective book cover design. It’s simple and has a great aesthetic. The title assumes the dominant role of conveying meaning.

Ken Blanchard's One Minute Manager book cover design

Using type and patterns is a very effective way to produce a ‘meaningless’ cover that can have a great aesthetic. Remember a great aesthetic can be more than half of the battle in producing a marketable book. If the book is aesthetically pleasing it means most people will find it ‘likeable’ and a likeable book is a desirable book.

Book cover using pattern for design.

Patterns are great at setting tone or mood. A pattern can be sophisticated or rough. A pattern can be subtle or bold. A pattern can be exciting or sober. And, yes at risk of appearing contradictory, a pattern can convey meaning (just to insert a little more complexity into this blog post!)

Pattern in book cover design

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In just a quick 8,000 words, this little book will equip you with the knowledge you need to successfully publish your book.

The Little Book of Big Publishing tips goes into the essentials of self-publishing a book, outlining the business and financial side of publishing, legal issues, design, editing, sales and marketing. There's even a section on how to identify a vanity-publishing scam.

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How does the RRP of my book affect my royalties?

How does the RRP of my book affect my royalties?

If you’re a self-published author struggling to properly price your book’s RRP, you’re not alone. Your book’s price directly impacts how well your book will sell and how much you make for each of your sales, so it’s important to get it right.

Price your book too low and you might struggle to earn what your time and hard work is due. Price it too high, however, and potential readers are likely to forgo your book for a cheaper option. Finding the right balance is crucial, but there are some factors that will help you figure things out.

Contents

1. What is an RRP?
2. Why your RRP matters
3. How do I set an appropriate RRP for my book?
4. Things to keep in mind when setting your RRP

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1. What is an RRP?

RRP stands for Recommended Retail Price. It’s the price you suggest that retailers, both global online shops and local bookstores, use when selling your book.

A number of things impact what your RRP should be set at. We’ve named a few below:
• Distribution channels
• Print costs
• Print quality
• Genre/audience standards

To price your book effectively, it’s a good idea to understand your distribution model and research similar books in your genre and target audience.

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2. Why your RRP matters

The RRP of your book is more than just a number—it plays a key role in attracting readers and boosting your book sales. A well-planned RRP helps you connect with your target audience and increase your earnings as an author, so it’s important to put some consideration into it.

The RRP, however, isn’t the be-all end-all for retailers when pricing your book. It’s an indication of the price they should set, but it isn’t a hard-and-fast rule. Retailers can set your book price at whatever they like—without consultation from the author.

While this is true, the RRP is still a retailer’s first indication of what your book is “worth”. If they don’t believe that they can sell the book at that price and return a just profit for themselves, they may not stock your book at all.

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3. How do I set an appropriate RRP for my book?

 

3.1 How are you distributing your book?

Distribution plays a key role in determining your Recommended Retail Price (RRP) since costs vary greatly depending on the method. Understanding distribution costs is essential to setting competitive RRPs and maximising profit margins.

3.1.1 Print-On-Demand (POD) Services

Print-on-Demand (POD) platforms like Amazon KDP and IngramSpark simplify self-publishing by printing books as orders come in, eliminating the need to stock books in a warehouse, shed, or your back room. Using POD also means that you don’t have to fork-out the upfront cost of bulk print, which is a gamechanger for indie authors.

However, POD convenience does come with a different kind of price tag: they take a cut from your royalties.

  • Amazon KDP royalty calculation: Amazon KDP takes 40% of your book’s retail price (RRP) for distribution and retailing through Amazon, leaving you with 60% royalties after print cost is subtracted. This means that if your book is costed at $24.99, you could receive around $7.70 in royalties.
  • IngramSpark royalty calculation: IngramSpark, as they’re not a retailer themselves, offers lower royalties as the retailer must also take a cut. You can lose 50–55% of your RRP for wholesale discounts, plus printing fees. This means that if your book is costed at the same $24.99, you could receive as little as $ 2.11 in royalties.

When you set your book’s RRP for POD, ensure it covers both printing and distribution costs while leaving room for profit. Both Amazon KDP and IngramSpark have calculators that you can use either to estimate (before setting up your title on their platforms) or finalise (once you’ve uploaded your final files) your RRP to ensure your royalties are looking good.

3.1.2 Self-selling

If you’re self-publishing and selling books yourself (either through your dedicated author website, at local events, or through your author social media accounts), you cut the retailer out and can make more royalties from each sale.

A good rule of thumb is to set your recommended retail price (RRP) at three times the per-unit cost of your print order. This approach covers production costs, allows for discounts when needed, and ensures you earn a solid profit.

For example, if printing each book costs you $5 per copy (unit), setting your RRP at $15 is a good starting point. Then, you should consider what other books in your audience and genre are and see if you can match-up to their pricing.

3.2 Research and align to your market competition

When thinking about pricing your book, the main market factors to focus on are the genre, format, and target audience. Readers usually have a price point that they’re willing to pay depending on their chosen genre and format, so it’s a good idea to know where your book will stand. Here’s a quick guide:

  • Paperback vs hardcover: Paperback books are always cheaper than their hardcover counterpart. Readers usually expect hardcovers to be up to $10–$15 more expensive than a paperback.
  • Non-fiction or niche genres vs general fiction: Non-fiction and niche genres often have higher prices due to specialised content or less competition.
  • Physical books vs digital books: Digital books (eBooks and audiobooks) are generally much cheaper than physical books. Their prices range from $2.99 to $9.99, and some are even free (usually with marketing strategies like Kindle Select).

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4. Things to keep in mind when setting your RRP

4.1 Don’t set your RRP too low

Many authors assume a low RRP will attract more buyers, but if it doesn’t cover production costs, you risk earning zero royalties—or worse, losing money.

To maximise your royalties and avoid losing money, carefully calculate costs before distribution and set your RRP to guarantee profit. Don’t let all your hard work as an author lead to financial loss.

4.2 Don’t price yourself out of the market

While setting your RRP too low can be damaging, raising it too high can be just as bad. Some readers will happily spend $30 or more books, but this doesn’t suit everyone. Most book buyers want affordable options and will often opt for a cheaper book over yours regardless of which is considered better.

When pricing your book, consider the following:

  • Who is your target audience? Are you selling to casual readers who prefer budget-friendly books, or collectors who will pay extra for the content they enjoy?
  • What makes your book unique? If your book stands out with premium features—like stunning photography or exclusive content—a higher price could be justified.

By understanding your audience and highlighting the realistic value of your book, you can set a competitive price and attract more readers, helping to boost your sales and profitability.

4.3 Factor in the format

When pricing your book, consider how different formats impact costs and set your RRP to reflect this. Here’s a quick guide to book pricing:

  • Paperback books: Paperbacks are usually seen as a popular, budget-friendly option for readers who still like a physical book. These are typically priced anywhere between $12.99 and $24.99 at most bookstores.
  • Hardcover books: Hardcovers are the premium choice for collectors and book lovers that favour this particular aesthetic. Because of this, they’re often priced higher at $30 to over $50 depending on genre and content.
  • eBooks: eBooks are typically the most cost-effective digital option and are usually priced anywhere between $0 and $9.99.
  • Audiobooks: Audiobooks, while digital, still require higher production costs, This means that prices often range from $7–$20, depending on length.

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Interested in publishing your book but unsure where to start or what is even involved? Tell us about your project and we will post you a copy of our:

 

The Little Book of
Big Publishing Tips.

 

In just a quick 8,000 words, this little book will equip you with the knowledge you need to successfully publish your book.

The Little Book of Big Publishing tips goes into the essentials of self-publishing a book, outlining the business and financial side of publishing, legal issues, design, editing, sales and marketing. There's even a section on how to identify a vanity-publishing scam.

submit your project details