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Why write and publish a memoir? This Blog Post dedicated to Julien and others labouring to write their memoirs and asking themselves the question “will anyone be interested?”
What is a Misery Memoir? This is a derogatory term invented by the traditional publishing industry to denigrate the validity and efficacy of a memoir that has a narrative – telling a story – of an individual’s suffering or experience of injustice caused by the actions of others. In discussion with a traditional publishing colleague he remarked “the industry needs to purge itself from the Misery Memoir.” In contrast, my view on the so called Misery Memoir has radically changed from contempt, to acceptance, to enthusiasm. As a company that facilitates the publishing of memoirs, I’ve thought long and hard about where these books fit in the publishing landscape.
They can be enormously popular. Ironically Prince Harry’s traditionally published Spare, was a narrative of how he was wronged by the very people closest to him, the institution of the royal family, and the media. The book is the fastest selling non-fiction in world history, selling around 6 million copies to date (since its release in 2022). In the first day the book sold 1.43 million copies. Why? I read the book and found it distasteful and quite annoying. But I sort of enjoyed reading it, devouring its bulk in a couple of days. It was biased and negative but at the same time an enjoyable read.
My conversion to the validity of the Misery Memoir came through a fuller understanding of why reading these can actually be a feel-good. Sometimes it’s an insight into other people’s unreasonable behaviour and poor thought patterns, including bitterness, jealousy and resentment… ‘how can people think like that’. This can justify my dislike of the book’s writer, but most importantly it can be an exercise in empathy… ‘Harry’s experience is a little like mine’.
My fresh understanding was validated when I read Aristotle’s Poetics, in which he coined the term catharsis. When we complain about other people’s behaviour behind their backs it can be cathartic, especially when others in the conversation have a similar complaint. Don’t judge me! This is common to human experience and you know what I’m talking about. In one corporate setting – when I worked at a university – meetings sometimes strayed into vicious critiques of other people. At these all-in sessions people can leave strangely satisfied, often feeling much better because others feel the same way. Participants can feel a sense of relief and healing.
In no way am I endorsing this behaviour but I’m analysing the effect. Character assassinations are cowardly, however, can you see the effect on the human psyche? For the critics it can be positive. It can be therapeutic.
Listening to Blues music can make people feel better.
Aristotle commented on the positive effect on audiences watching a Greek tragedy – a theatre production that in a way parallels a Misery Memoir. The Greek tragedies evoked both fear and pity. For Aristotle this resulted in catharsis for the audience – a release or purging of bad emotions.
Alexandra Kostoulas at medium.com puts this very well:
In Aristotle’s Poetics, a lengthy and ancient treatise that draws out among other things the concept of the 5-act dramatic structure of plays, emotional catharsis comes to the audience after the audience experiences tragedy.
After watching a tragedy, when everybody dies in the end, as we cry, we feel cleansed. Think about the end of Romeo and Juliet. This kind of art lets us feel the feelings. As the theory goes, after a good cry, we feel better. We feel better because we have directed our own anxieties outward and, through sympathetic identification with the tragic protagonist,
Indie publishing (or self-publishing) is a great medium for authors to experience catharsis. We call that ‘publishing as therapy’. The finished work, if put together well, can also be therapeutic for readers.
I’m now working on a new, more positive name for the Misery Memoir. Maybe the Cathartic Memoir. Does anyone have any ideas?
David Walters | Founder | Green Hill
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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.
I was recently asked to construct a 45 minute presentation to a group of 30 indie authors – representing a broad spectrum of ability, experience and aspirations. For some of these authors it might have come at the end of many, many hours researching self-publishing on the internet. Some had already failed. Others had enrolled in an infamous write-your-book-in-one-week-aboard-a-cruise-ship scam or similar 5-star-resort scam. For others it might have been the start of their journey to publish their writing.
Many authors feel the need to gather as much information as possible to educate themselves on their coming project. And here I was being asked to help educate aspiring authors.
Because there are so many ‘moving parts’ in a publishing project I said to myself, ‘what could I expect to achieve, and what real value would it be to authors?’ ‘If I just had 45 minutes to advise authors what would I say?’
A colourful memory was a visit from a writer who had been trying to self-educate on self-publishing. Her methodology was to search online and extract lists of each company’s offerings. Green Hill a has a list of offerings – and so do many suppliers. She had a spreadsheet with each benefit in a column and company names across the top and a score against each item. I really do understand why she approached us in this manner – its because there are so many scams, rip-offs and a bewildering array of offerings. She couldn’t afford to choose a bad supplier and this was her strategy!
‘How many free books do you include?’ she probed. I felt I was in the dock in court. ‘Ummm. None, there is no such thing as free books’ I said defensively trying to squeeze a plausible explanation in before the next question. ‘OK’, she said sounding like an expert, more like ‘Ooookaaaay’ capped by a ‘tutt’ and a slight shake of the head and a cross on her clipboard. ‘XYZ Publishing do free editing’ she announced. ‘Do you do that?’ not realising that the ‘editing’ on offer wasn’t editing at all but a crude spelling and grammar check. For these ‘fully-researched’ aspiring authors there’s almost no reason for us to even try to provide our service – it’s just too hard trying to work for a fully-researched know-it-all.
And every time we get contacted by authors who have been scammed or at best paid for a sub-standard project out come, they assure us they had spent many hours researching their choice of supplier.
So my conclusion and approach here, is that authors are seeking answers to the wrong questions.
So here goes. Here’s my top 4 topics.
It’s so integral to the book’s success. Often we have authors come to Green Hill seeking a range of service to see their book successfully published. But nothing can beat a great manuscript. That includes a book concept that will fly (and not sink like a stone).
No matter of great book design, fancy print treatments or powerful metadata will project a book onto the best sellers list.
Successful authors have identified a need in the market and have crafted a powerful book concept. It’s powerful because it gets traction or has an impact. An impact can result from:
No matter how nicely designed or how well printed and how extensively marketed, these elements won’t fix the problems created buy a poor manuscript.
Book sales are downstream from findability. If retailers and/or readers can’t find your book they can’t buy your book.
Metadata is data about data — information that describes, explains, or gives context to another piece of data. Metadata tells you what something is, where it came from, how it’s used, or how it should be handled. Book metadata includes (among other things) book title, author, ISBN, page count, dimensions, publication date and the publisher.
A lot of metadata remains unseen by potential buyers, but by no means are they unimportant. ISBNs and metadata directly influence a book’s availability and searchability – broadly termed findability. These elements make a book findable by both retailers seeking to stock a book and readers looking for how they can purchase a copy. Every book that finds its way to market must have an International Standard Book Number (ISBN). This is the thirteen number code located on the back of the book above and below the barcode and also on the inside on the legal/copyright page. An ISBN is crucial to selling and marketing as it is a unique number that allows the book and its metadata to be easily located.
Metadata isn’t just about the data attached to ISBNs but it can be data on other book industry databases.
Three seconds. That’s all the time you have to convince a reader to pick up your book in store or click on your book online. You couldn’t possibly convey the whole plot in that short time limit, and simply stating the genre isn’t enough. So, what can you do? This is where book designers come in.
These three faces come together to convey one simple thing: the message of your book.
Part of design is considering how your book will look printed, including the cover, the interior, right down to the paper. The very best book designers understand that a book is a physical, 3D product, not just artwork on a screen.
‘Author platform’ is a term commonly used by publishers to describe an author’s presence both online and within their own community. Before taking on an author, traditional publishing companies will ask, ‘what platform do you have and what are your follower numbers?’ This is because you and your book will need an existing platform to make your book known and to achieve sales.
Books sell because the author has a ‘platform’.
Having an established author platform can look like many things, including:
If you don’t identify with any of these, you’ll need to get started on building your author platform. Social media is a great place to start.
To illustrate just how important an author platform is consider these books. One book was described as ‘a frustrating slog’ but sold over 500,000 copies. Notice how Harris’, Klim’s and Slim’s books are all about the author name prominent in the design. And of course photos of recognised faces are important. Harry’s book sold over 3.2 million copies yet he didn’t seem to have much to say of interest – the readers bought Harry.
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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.
IMPORTANT NOTE: THE BOOKS USED IN CASE STUDIES HERE ARE NOT GREEN HILL PRODUCTS
Many self publishers or indie authors have genuine talent. But as a self-publishing company whose mission is to help indie authors publish in a professional manner, we regularly get some grotesque examples of things that have gone terribly wrong. Some of these books have been produced by UK, North American or Australian fee for service companies (similar to Green Hill Publishing but often charging outrageous fees to their unsuspecting victims). Others have been wholly put together by the author themselves.
Ironically many of these authors come to us with a request for us to help market the book with the objective of generating sales revenue. Our advice is fairly standard:
Often the result of this feedback is that the authors are offended, sometimes angry. We are never able to help market these books because they are not appealing to readers and retailers can smell a poor book a mile off. To be able to market a book a lot of “ducks need to be in a row” – several elements need to be just right. Some of these elements are visible. like print quality, book cover design and typography. Others are invisible like the strength of the book concept/story, the quality of writing/editing, metadata and online findability.
Our studio/office has a special secret section called the Hall of Shame – a collection of the worst possible books that authors have asked us to market.
In a few instances where the authors ask us to fix their books, unfortunately the scenario has been along these lines:
‘That’s is a a very good costing. But the US company I used charged two and a half times as much and I simply don’t have a lot of money left. Can you do it for free?’

Oops… the printer has accidentally inserted some blank pages throughout the book and the poor author has tried to tear them out.
There are a few scenarios when it comes to self-publishers doing poorly in the area of getting their books printed. Book printing is a specialised craft and many printers simply don’t have the equipment to print in quality at a good price. Often self-publishers will walk into a printer that they have noticed passing on their morning commute. If the printer doesn’t have the equipment they might secretly pass it to another company. Or they might do it themself. They might do it themselves and it might be poor.
We’ve seen this so many times and it makes the book look silly. Not only that, its impossible to read. Gutter loss is where the interior typesetting does not allow enough space in the inside margins. When the book is bound some of the text is obscured. More about gutter loss: Printmybookaustralia.com.au
We’ve seen books with very unusual structure – the order of the various sections – often reinvented by the author themselves. The problem with this approach is that the reader can be easily confused. Book publishing has benefited from the structure of books being codified or defined over centuries. Everything has its place and this standardisation helps readers navigate through a book with familiar ease. One author presented their book with the Author Biography at the front of the book reasoning that ‘people won’t be that interested in the book but they should be interested in me.’
We recommend any author with ‘new innovative’ page ideas should first have a look at the New Hart’s Rules – The Oxford Style Guide. For over a hundred years, Hart’s Rules has been the authority on formatting of publications, but we see authors doing their very first book somehow knowing better. The result is invariably a weird and unprofessional book.
We’ve got many examples of botched books that have been designed and printed using the wrong manuscript or artwork. Usually the affected author is indignant that the book contained the old manuscript (which is normally littered with errors). We ask ‘how did the book producer get the old manuscript?’ and the answer invariably is ‘I sent it to them’. What normally happens is a disorganised author will send numerous versions of the manuscript with the same file name. Should a print error come as a surprise? In this instance the publisher blamed the printer… “our printer has made a terrible mistake”.
In the instance at left the author sent numerous different PDF files (all supposedly ‘finished art’ exported from Word) to the printer and the printer should have used the 5th one sent not the 6th one. In total the printer was sent over 50 emails over a 7 month period. The author remarked to us “I sent so many emails, and they still got it wrong”. Obviously the author took no responsibility for the chaos they had created. And it seems they didn’t even examine the proof copy provided before the big print run. The result – an embarrassing book filled with several hundred terrible spelling and grammatical mistakes.
Aspiring authors who decide they need help often seek a fee for service self-publishing company. The problem is the internet is littered with scammers, mediocrity, underpowered start-ups, small scale 1-2 person companies who don’t have specialists. They might be graphic designers posing as publishers or aggressive marketers who are based in North America and use designers in Bangladesh and call centres in the Philipines.
Here is a book put out by a somewhat genuine Australian start-up who quite obviously have little expertise. Their own book on how to self-publish is one of the most poorly written and designed books we’ve ever seen. An author who was a victim of the company, gave this to us incredulous that they promised so much and delivered so little. The language is poor and mistakes overt – but the very ‘green’ inexperienced author fell for it not being able to see the shortcomings.
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
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.