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Rise of the Indie: Print Markets and the Road Ahead

When publishers rejoice at the “failure” of the digital market, they aren’t actually celebrating the preservation of print: they’re reacting to the preservation of their market share as compared to the self-published industry. But print isn’t safe from the rise of the indie market, and it’s important for publishers to be prepared to compete where they have for so long dominated.

When tablets and the modern electronic book hit the publishing scene a decade ago, industry professionals suggested that ebooks sales would take a substantial share of the market (some claimed at least 50% by 2014).1 What they didn’t predict was that more than half of that new market would be dominated by the independent and self-publishing industry (hereafter referred to as the indie market).

The ways in which the traditional industry looks at data and the trends that data predicts has grown complicated. However, one thing is clear: digital is the purview of the indie market, and traditional publishers are struggling to maintain their market share, both in unit sales and revenue.

It’s no wonder then that, since early 2016, articles heralding the return of print sales and the decline of the ebook have given publishers and booksellers alike a reason to celebrate. With ebooks taking up only 18% of the total publishing market in Canada2 and a stagnant 23% in America,3 a market trend that suggests a worldwide return to print would mean publishers could blame an under-performing digital market as a reason to go back to doing what they’ve always been good at: publishing print books. Fortune Magazine’s digital editor, Andrew Nusca, relates some of why the traditional publishing industry celebrated the leveling out of the ebook market at the beginning of 2015:

Between 2008 and 2010, e-book sales skyrocketed 1,260%—a sign that the platform had matured and also a sign that it hadn’t quite gained traction up to that point. Amazon began shipping Kindles like mad. Barnes & Noble threw its hat into the e-reader ring. (A fateful decision, it turned out.) Print sales (especially for cheap paperbacks) slipped, bookstores large and small—but especially large—began to close up shop, and the entire publishing business was left shaking. A reprieve from that narrative is obviously welcome if you’re in the book business.4

Of course, it could be argued that there are specific reasons that the ebook market was willfully left to stagnate, but only some of those reasons are important for the scope of this essay.


Author Earnings - Trade Books by Format
Author Earnings, 2016.

The Situation Right Now

According to a report released by Author Earnings at the Digital Book World conference in January, 2017, the indie and Amazon Imprint ebook market accounted for 54% of total ebook sales in 2016.5 These numbers included ebooks sold through Amazon, iBooks, and other retailers that Author Earnings’s “spider” software could crawl for sales snapshots. Author Earnings itself admits that there are some limitations to the methodology for their quarterly reports (from which this data is compiled):

[E]ach of our quarterly snapshots, no matter how comprehensive, is only an X-Ray of the US ebook market at that exact moment. It’s what’s called a cross-sectional study. Like a freeze frame photo, it can only tell us how the ebook market is faring as a whole, rather than predicting the future prospects of any particular author along any particular publishing path. […] each data set can only tell us how each individual author’s books happen to be selling at that precise instant in time.

The picture painted by each quarterly report, taken on its own, is thus necessarily incomplete.

They tell us nothing about the consistency of those individual authors’ earnings over time.6

However, despite the “incompleteness” of the data, there are some trends, when taken with the contextual history of how the market has adapted to include self-publishing over time, that can help predict where the next big upset in the publishing landscape might occur.

Bodice Rippers and Coloring Books 

Author Earnings - Online Sales by Genre
Author Earnings, 2016. (Pink circles added)

The outliers of the publishing industry have a story to tell about what gets printed and what doesn’t.

Author Earnings says that Adult Fiction has moved online, but a majority of this is because of the booming romance category, which runs differently from the rest of the fiction market to begin with.7 Romance is also one of the many indie market’s digital-first genres, where authors test the reception of their work in ebook format first, before adding on a print edition. (The difference with romance being that the “insatiable readers” of romance will often buy a book twice to support the author, with whom they often have access to through author-moderated fan communities.)

Author Earnings reports that the other major outlier, coloring books, which sold almost 12 million copies in 20158 and 14 million in 2016,9 have not only shifted heavily into the indie market sector (with indie authors making up 60% of the market share), they’ve also stayed in print.

Sales of Coloring Books Went Indie - Author Earnings, 2016.
Author Earnings, 2016.

The magnitude of this trend should not be overlooked, especially when thinking about the future of the print market. In comparison to other types of books, coloring books have the fewest barriers to publication. There is little to no editing skill required, minimal production (layout, typography, and color printing knowledge are unnecessary), and anyone with basic knowledge of Word and PDF creation can make a book as professional as Penguin Random House in half the time. More importantly, the audience for these books care very little about who published it, so long as it fulfills their reasons for purchasing it. Most importantly, authors within the indie market can competitively price their books with the click of a button, undercutting their competition in much the same way that Amazon has been undercutting brick-and-mortar stores since 1994.

Print Isn’t “Safe” from the Self-Publishing Industry

Looking at the data, it is easy to see that the ebook market is dominated by indie publishers and will continue to be so—but with that comes the assumption that the print industry, while shrinking or stable, will remain firmly in the realm of traditional publishers. I argue that isn’t the case. The demand for self-published print books is growing,10 and will only continue to do so. Once the accessibility of print services open up in the same ways ebook technology did, a surge similar to what happened with digital publishing will occur on the print side of the industry.

I am not arguing that indie authors will (or won’t) overtake traditional publishers in the print market; rather, that it is short-sighted to assume that there won’t be a point in time at which those authors won’t be competing with traditional presses by taking up a larger slice of a shrinking pie. And, should traditional publishers not gain the sort of flexibility that they failed to exhibit throughout the growth of the digital market, they may find themselves not only unable to depend on title P&Ls for their business decisions, but repeatedly being challenged by the innovative spirit the indie market has demonstrated throughout their domination of the digital market.

However, there are a couple of issues that stand in the way of the indie market’s ability to compete within the print industry:

  1. Bookstores, libraries, and other stores that carry books have not yet shifted their policies regarding independently-published books. It is a fact taken for granted that the publishing industry is a consignment industry, and until a POD printer allows returns, or bookstores revoke their demand that a book be returnable (a pipe dream), indie authors will have to struggle, case-by-case, to be stocked on shelves.
  2. The technology that makes print paperbacks and print hardcover versions of books are not all that accessible to indie authors. By this, I mean that the software have high barriers to entry in the realms of functionality, costs, and flexibility.


Independent Bookstores on the Rise

Selling books in a brick-and-mortar store is fundamentally different from selling a book online. Chain brick-and-mortar stores are like Starbucks, the same no matter where you go. That homogeneity may be the reason sales are depressed, because there’s no reason to browse if every bookstore you go to has the same featured books that Amazon and other online retailers are carrying—and carrying at a much deeper discount.

One of the reasons that indie bookstores are on the rise may be because they bring flexibility and ingenuity back into the mix. Local communities care about whether their store survives. Titles feel handpicked and employees seem to have a more personalized touch when handselling.11 Independent bookstores still play a major role in deciding bestsellers. While some of this may be a collective narrative and no more, a narrative is more than powerful enough to make an idea succeed. And an environment that values locality and autonomy is an environment where indie authors can excel.

Hardcover and print unit sales for traditional publishers in 2016 were around 790 million. (Author Earnings, 2016). For self-publishers who have consistently been outselling and outearning traditionally published authors in the Amazon ebook market, print unit sales in the same year were closer to 22 million. The gap is clear. However, if print technologies through Createspace and Ingram become more accessible and fair, there’s no reason to think this won’t change. Despite the sound argument by Alison Strobel in her essay “Self-Publishing’s Limits”—regarding the need for distribution centers, warehouses, and upfront monetary investments the indie market will need in order to succeed in the print sector12—there is evidence to suggest that the market is leaning the other way: indie stores have a long tradition of hosting local author books and events, and Barnes & Noble is one of the few and notable chain bookstores that does the same. It may even be that, despite Barnes & Nobles’s questionable business decisions in the last few years, its flexibility in working with the indie communities is one of the reasons it has been surviving.13

Show Me the Money

Print remains the place where publishers receive the largest profit margin, even for POD printing. Traditional publishers sell less units of ebooks, but earn more revenue overall from each sale due to higher pricing structures. At first glance, it seems that many indie authors sell not only more units but earn more revenue, but the low price points for ebooks mean that many authors earn less than $500 a year.14

Sample print royalty rate for the book
Sample print royalty rate for the book “Darkly Never After,” a self-published anthology.

While an indie author will rarely have the advantage of bulk pricing for larger print runs, they will still see more from the sale of a $14.99 print book than a $2.99 ebook (the current median for ebook and print pricing in the indie market).

Sample Ebook Royalty Rate
Sample ebook royalty rate.

In addition, an indie author can undercut many traditional publishers in the print arena as print books for both paperback and hardcover have been steadily climbing.15 So long as the quality from one matches the quality of another, consumers won’t care. What happened to bookstores when Amazon reset the entire industry’s price point expectations will happen again, except this time with indie print books in opposition to traditionally-published print books on retail (and online) shelves. And with Amazon increasingly marketing its own imprints where it dominates online retail channels, this trend will only continue.

School Library Journal Average Book Prices for 2016.
School Library Journal, 2016.


POD Printing

In 2008, at the height of IngramSpark’s print-on-demand reign, Amazon, which had recently acquired a POD printer called BookSurge, made a startling demand: if publishers wished to have their POD books carried by Amazon, they would have to use BookSurge, or their “BUY” buttons would be removed. Within a month, an antitrust lawsuit was filed against the online retail giant by small POD publisher BookLocker. The lawsuit would last two years and $300,000 in lawyer fees for the owners of BookLocker, but Amazon was forced to settle (and pay the lawyers). Not long after, Amazon rebranded BookSurge as CreateSpace, which is now one of, if not the largest POD printer for indie authors on the market. Ironically, despite its antagonistic history with Lightning Source/Ingram, it now relies on its competitor to make its Expanded Distribution Channels possible (an optional service on CreateSpace that makes a book published on Amazon “available” to bookstores and other retail outlets). Meanwhile, Ingram tends to market itself to established mid-sized and small or micro presses, leaving the bulk of the indie market to Amazon’s discretion. There are other competitors, such as Smashwords and Lulu, but it’s hard to argue Amazon’s power when it comes to being able to print a book, upload an ebook, and distribute it to a massive consumer base all on one platform—and now, with the introduction of KDP Print, all on one website.

If You Build It They Will Print It

Traditional publishers have been slow to adopt XML workflows, a process that would arguably speed up the entire publication process and transform production into a lean, efficient, metadata-rich system. Self-publishers, on the other hand, who aren’t indoctrinated by old standards of the publishing industry and prioritize digital-first environments to test out what is and isn’t enjoyed by their base, are primed to adopt XML with little resistance. Roadblocks to independent publishing in the past have included clunky and confusing PDF submission guidelines (in many ways necessitating access to Adobe products, which largely are only accessible through monthly subscription models—a system with little value proposition to an individual not planning to use the software more than 1 or 2 times a year). Guidelines for places like Ingram or Lightning Source run 30 to 40 pages; an overwhelming and confusing process for most indie authors.

However, last month, Amazon rolled out KDP Print, which, while in beta, seems to answer the frustrations long-expressed by the indie community by offering a way to turn their ebooks into a paperback—much like an XML workflow. This (along with companies like Draft2Digital, which make the process of formatting a book as simple as uploading a common document type), will facilitate the future of the indie market’s printing boom.

In the end, it is an oversight to assume that indie authors are only in the digital realm because that is where they want to be. In fact, many authors desire print versions of their work, and it is the technological capability alone that stands in their way.16 While in the early 2000s, this set indie authors up to be taken advantage of by predatory vanity presses like Author Solutions, in recent years, support communities like SFWA’s Writer Beware and Absolute Write have banded together on the shared desire to accredit publishing service providers both big and small.

KDP Print: Amazon is Moving In on Production

Earlier this year, Amazon unveiled a new service for its indie authors: KDP Print. In effect, this service gives a much needed facelift and UI improvements to CreateSpace. One of the most notable and massive changes is the marrying of ebook and print production under one URL (and therefore, one user account). All of the functionality of CreateSpace remains, except Amazon is flipping the traditional publishing process on its head: start with digital, then move to print.

This logically makes a great deal of sense. Amazon’s massive self-publisher market is already familiar (and loyal to) Kindle Direct Publishing, and the use of the similar interface takes away a lot of the confusion and mistrust with CreateSpace’s clunky and outdated interface. Gone are the pixelated instructional menus—authors can now glide through the print process as easily as uploading a Word or PDF document, and correct errors that CreateSpace would normally flag. In the past, platforms like Amazon Advantage and CreateSpace separated the two production processes for books so much that, for some authors, it was simply not worth the trouble.

What does it mean for KDP to now be offering print? In addition to a single space within which to view sales data for both print and ebooks, preorders may soon be on the table, a functionality Amazon added to KDP for ebooks a couple of years ago. Expect that indie authors will respond positively and aggressively to that change.


As barriers for self-published authors continue to diminish in making a product that rivals traditionally-published books, the lines between the two industries will further blur. If the traditional presses do not actively reflect on the aspects of their businesses that failed to make them competitive in certain digital genres, they can expect that when the print “boom” happens (and it will), that expansion for indies will be coming out of their own market share. With the state of the publishing industry already so precarious (especially in the United States and Canada), the upset could be far-reaching and intense. It isn’t about digital vs. print. It isn’t even about online vs. brick-and-mortar. It’s about two very different industry models vying for the same market, and as the digital realm has shown, consumers don’t prefer one over another—they just want good content.


1. Flood, Alison. “Ebook Sales Pass Another Milestone.” The Guardian, April 15, 2011, sec. Books.
2. “Canadian Publishing in 2016: A Review.” BookNet Canada. Accessed March 25, 2017.
3. “E-Book Share of Total Consumer Book Sales in the U.S. 2009-2015 | Statistic.” Statista. Accessed March 25, 2017.
4. Nusca, Andrew. “Print Books Are far from Dead. But They’re Definitely on the Decline.” Fortune, September 24, 2015.
5. “Print vs Digital, Traditional vs Non-Traditional, Bookstore vs Online: 2016 Trade Publishing by the Numbers” Author Earnings. Accessed March 25, 2017.
6. “Individual Author Earnings Tracked across 7 Quarters, Feb. 2014 – Sept. 2015.” Author Earnings. Accessed March 25, 2017.
7. Ha, Thu-Huong. “Maverick Women Writers Are Upending the Book Industry and Selling Millions in the Process.” Quartz. Accessed March 25, 2017.
8. “2015 U.S. Book Industry Year-End Review.” Nielsen. Accessed March 25, 2017.
9. “Is the Adult Coloring Book Trend Coming to an End?” Time. Accessed March 25, 2017.
10. “Technology: Self-Publishing – From Blog to Book: How Self-Publishers Yearn for Print.” Print Week, no. 18. Journal Article (2012).
11. “Read All about It: Print Might Be on Rise but Book Sale Figures Incomplete.” Pittsburgh Post-Gazette. Accessed March 21, 2017.
12. “Self-Publishing’s Limits.” Thinkubator: R&D at Publishing @ SFU. PUB800, December 9, 2015.
13. McIlroy, Thad. “B&N to Sell Self-Published Books In Stores.” Book Business, July 8, 2016.
14. Flood, Alison. “Stop the Press: Half of Self-Published Authors Earn Less than $500.” The Guardian, May 24, 2012, sec. Books.
15. SLJ. “SLJ’s Average Book Prices for 2016.” School Library Journal. Accessed March 25, 2017.
16. Rich, Motoko. “As Publishers Cut Back, Self-Publishing Booms Print-on-Demand Houses Make Money on Books That Sell Almost No Copies.” International Herald Tribune, January 29, 2009, 4 edition, sec. Finance.

Jungian Archetypes - The Ruler, or the King

Archetypes: Ruler

Power is not everything, it is the only thing.

Taking responsibility not only for his own life, but the lives of others, the Ruler is one of the most recognizable and easily corruptible Jungian archetypes. This is the archetype of power, plain and simple, but what comes with power is a dangerous tightrope walk between order and chaos.

As I have mentioned in prior posts in this series, this collection of essays deal with the archetypes first put forth by psychiatrist Carl Jung, and the use of these archetypes in fiction. Every post deals with the motivations, character profiles, and Shadows (or negatives) of each archetype. This week we conclude our look at the group known as the Self types, which are defined by goals related to the Ego, or agendas that serve to improve personal spiritual, mental, or physical standings with the world. The Ruler, driven by a need for power, is (fittingly) the final of the twelve archetypes in the series.



 The Ruler


Also known as the king, queen, boss, leader, politician, role model, manager, or aristocrat, the Ruler is always at the top of the food chain, and is generally wholly responsible for the atmosphere of the world in which they inhabit. For this reason, it is quite common to either find the benevolent ruler killed or otherwise maimed early on in the story, or the evil dictator, who is the main villain the heroes must overcome by the end. Why is this? Because if the Ruler is available and doing her job properly, there would be no story to tell!

The Ruler is concerned with creating wealth and prosperity, and in order to do that, they must obtain absolute power. By the end of the story, many Heroes may, in fact, be on the path to become Rulers themselves. Unlike the Hero, the Ruler isn’t concerned with a singular purpose—they must weigh the entirety of the community they oversee, and as such, are rarely universally loved. In fact, there may even be a benevolent ruler who appears wholly the villain, simply because they can not grant the requests of their followers. They exert their power as a first course of action, with or without counsel.

The Ruler, therefore, also has a very real fear: being overthrown. In the Ruler’s mind, he is only doing what is best for the world, but the world may not agree, and so, as the story dictates, he must fall, so the cycle can start again.

The Ruler is one of the most dangerous archetypes to fall into shadow. Aragorn becomes Sauron. Peter Pan becomes Captain Hook. Katniss Everdeen becomes President Snow. When the Ruler falls, they fall with absolute power on their side, and are difficult to overcome without heavy costs to the opposing side.


Enter Gallery Mode for Captions

Recommended Reading:

Other Posts in this Series:

Archetypes-InnocentArchetypes-everypersonArchetypes-HeroArchetypes-CaregiverArchetypes-ExplorerJester Archetypes Jungian archetypes in fictionArchetypes-OutlawArchetypes-THELOVERCreator Archetype Inventor JungExamples of the Sage Archetype Jung
Archetypes: Magician

Masters in Publishing: Episode 5

Episode 5: December Wrap-up

With December came the last week of the semester, the crazy-fun culmination of everything we’d learned over the last few months. There was scrambling, and panic, and late night meetings and script rehearsals, as well as several trips to the printer to make sure our materials would print just right. For Margin Press, we had the added “joy” of trying to put a square logo on a round object. Keyan, one of my amazing teammates, solved the problem by etching the logo on a flexible eraser, though in my panic we tried ink as the stamping mechanism, rather than straight up acrylic paint. I didn’t realize how easy it could have been until the day of the presentation… but, live and learn! In the end, we’d done all we could, and I walked into the sales conference feeling pretty confident about what we’d accomplished. The books felt real. Our company felt real. All the marketing plans, P&Ls, and TI sheets felt real. All that was left was to convince the panel of that, too.

Margin Press Spread

The Sales Conference

December 2nd was the big day:  the last day of the semester, and the day of our 20-minute presentations. Margin Press was eager to really make an impact, so we decided to divide the presentation up dynamically, with each person talking about the elements of the books that would have been under our proposed job within the company. This ended up working out really well, since I introduced each title’s pitch and general information, then talked about the Blippar tech augmentations, before passing it off to the next person. This allowed us to review our note cards between titles, so there was less of a chance of getting stuck or freezing while the timer was running.

Each panelist received a print copy of our catalogue and tip sheets, which are photographed in the album below, and a goodie bag full of the stuff pictured above, as well as the juggling balls, which I’ve included in the gallery below. We even found bags that were the right aqua color for our company! It all looked really awesome, if I do say so myself. 😎

Our presentation went well. We had practiced it for a few hours the day before and before the conference, which allowed us to make adjustments so nothing overlapped too much. We didn’t want information repeated when we only had 20 minutes to get through introductions and four books. It also reduced the sheer amount of data we had to memorize. Because of all that prep, the presentation itself just flew by. I think we all sounded relaxed, even if we weren’t inside. Let me tell you—all those years teaching paid off! I didn’t get stage shy at all.

After the presentation, the three panelists were invited to make comments, ask questions, and critique everything. This was the part I was nervous about. We were the second group to present, and the first group were grilled for almost forty minutes. Forty!! But something miraculous happened….

They only had a few nitpicks!

In general, we got really glowing reviews, with my favorite being the panelist from Penguin Random House Canada telling us that our TIP sheets were the best-designed she’d ever seen. (I’m allowed to squee here, right?! I designed those!) Also, the panelists I had pegged as the one who would be the hardest to impress had very little to say, except that she wanted to publish all of our titles and wished they were real books. Later, several members of the faculty approached us to congratulate us again, and applaud the final presentation of the tech, which they had apparently still been the most worried about.

All in all, I’m still glowing from it, and it’s more than two weeks later.

….but apparently I’m going to be able to do this all over again, because next semester Magazine Project is basically the same deal. 😂 Here’s hoping everyone in the cohort is ready to dive into that kind of madness again when the time comes.

Winter Break

I don’t have school again until January 4th, but that doesn’t mean I’m free of MPUB. I need to update my resume and portfolio and look for places to intern at. Sadly, my first choice does not have any openings for this summer. Our design course also has two side projects that we’re all supposed to work on over the break, and in typical-me fashion, I’ve made the courses far more complicated than they need to be. One of the projects I’ve mentioned before: the book redesign project. I’ll be redesigning Nine Princes of Amber by Roger Zelazny. This involves a complete cover redesign and interior layout.

The other project is a Visual Identity Program, which is basically branding yourself or a company with fonts, colors, stationary, a website, etc. I’m kind of excited about this one, since I’ve been wanting to redesign Country Mouse Design for a couple of years now, and this is the perfect opportunity to do it, and get professional feedback while I’m at it. I’m even making a branding book that includes promotional item mockups, grid systems, and templates for my invoicing, estimates, and contracts. Pretty exciting stuff. It looks SO pretty, you guys… here’s a sneak peek:

Country Mouse Design Branding Book
Branding Book, Pages 10-11: Pink Mood Board

That concludes the first semester of MPUB! Woohoo!! Upcoming posts include a couple of Christmas holiday events I’ve attended around Vancouver, (hopefully!!) the last Archetypes post, and my notes from MagsWest. I hope you all are enjoying your holiday. 🙂

#MPUB Masters in Publishing Masters of Publishing: November Wrap-up

Episode 4: November Wrap-Up

November was wholly consumed by what is known as “Book Project,” a seven-week crash course in publishing covering everything from the concept pitch to sales. Students in the MPUB cohort are placed in three separate groups and are given a two-sentence missive on the direction their mock publishing house should take. Each part of the project was punctuated with consults from industry guests, who graciously confirmed or rejected the ideas we had about each of our proposed titles. Due to the intensity of the project, the rest of the courses sort of faded away, so I’ll mostly be talking about the work we did leading up to the mock sales conference we had on December 4th.

The Book Project

PUB 605 started with missives being drawn out of a hat. My group selected ECW Press, which is a quirky, ambitious publisher that prints basically everything plus wrestling. Apparently the original owner is just a huge fan of the WWE, so, yeah….

I was pretty happy with the pick, since ECW’s titles were not as restrictive as Greystone Books, for example, which basically only prints nonfiction. On the other hand, we were the only group given instruction to include technology in some meaningful way. That presented several challenges, since tech in publishing is often used in gimmicky ways, and we wanted to avoid that at all costs.

Week 1

The first week of the project was likely one of our hardest, simply for being thrown into it with basically just a syllabus as direction. One member of the team was out with the flu and another (an auditor) was unavailable. After being taught through all of September how important it is to take the time to refine your brand and company as carefully as possible, we were basically given two days to get that done. 😅 So, Week 1 was about finding our imprint’s name [Margin Press], starting the mission statement, pitching enough titles to make a solid list [starting with six and narrowing down to four over the course of the project], and beginning the sketch work for our logo. The logo development was probably the most exciting part of the week for me.

M Logo
My sketches. I ended up liking the simplistic { m } best.

In the end, we settled on a design created by my teammate Bec, who is a graphic artist at heart, and way better at these things!

Margin Press Logo
I love the bracket i’s! Those were Katelynn’s idea. She also rendered the whole thing.

Week 2

Week 2 was probably the hardest week of the entire program. There was so much due all at once, and working on books that haven’t technically been written, by authors we have never talked to (or made up entirely), was quite the challenge. Still, by the end of the week, we had draft Profit and Loss statements for all six of our titles, which we used to narrow down the list to the four most viable books. We had a really fun book we were all sad to see go, The Neopagan Next Door, a nonfiction on pagan practices in a contemporary society. In the end, though, we settled on these four (I’m including their final taglines, or elevator pitches):

  1. Urban Carnival: The Hidden Lives of Vancouver’s Street Performers (my pitch to the group!) – “Bagpipes, beatboxing, and didgeridoos: what’s left of the vaudeville carnival can be found on Vancouver streets—but there’s more to these acts than meets the eye.”
  2. My Chinatown: A Novel – “Lin has always felt torn between two cultures, but when a new development threatens Calgary’s Chinatown she must finally pick a side.”
  3. Douglas Cardinal: Indigenous Architect – “The story behind the stunning architecture that has helped revitalize Canadian Métis heritage for more than half a century.”
  4. Unsettled: Narratives of Syrian Refugees in Canada – “Six refugee families from Syria recount the struggles and triumphs of reconstructing their lives in Canada and rediscovering the meaning of home.”

With all of those books, we had one main goal in mind—we wanted to promote books from marginalized communities. So, while we were refining our list, we also refined our mission statement, which ended up becoming:

Margin Press publishes for readers who like to engage with literature through a kaleidoscope of multimedia. We publish voices from the margins and push the limits of content and form. Through a suite of creative and diverse media, our readers engage with stories from original voices typically underrepresented in society.

I can’t tell you how many HOURS we spent fine-tuning the words for those pitches and the mission statement. Probably too many…. but hey, in the name of a job well done. 😛

Finally, we started our Tip Sheet information, subsidiary rights research, and catalogue design. Oh, and marketing plans. Like I said…. it was a busy, busy week. Here’s what our board looked like:


Week 3

The third week of the project, things began to settle into a rhythm, and while we were still insanely busy, I personally started feeling like everything was doable. Part of the reason I could feel that way is that not many of our team worked outside of class, so we could pull long meetings during the week. That meant we could relax or catch up on other coursework over the weekends. For future cohorts, make time to be away from the project or you’ll go batty by the end!

Week Three was also a bit shorter than we might have liked because three of us were attending MagsWest, a local conference for magazines (I have notes, and those will make another post!) That ended up being okay, though, since the assignments were mainly revisions. We got print quotes back from Friesens (this was such a fun part of the project… talking with an actual distributor about paper stocks and trim sizes and purchase orders. I think we were the only group that dared to haggle with the rep, haha. He gave us a 10% discount on two books’ printing though, so I guess it paid off. 😉 )

Cover developments also started that week. I threw together a cover for Urban Carnival, which ended up being its final version as well (that was cool), and also made a bunch of mock-ups for My Chinatown, which were all rejected. 😜 Here are a couple (the red envelope ended up being adopted for promotional materials though!)

Finally, I had an impromptu meeting with a member of the faculty to explain my use of Blippar, which further cemented the idea that we needed to be careful about how we were going to use the media elements in the final products.

Week 4

By Week 4, all correspondence and assignments for the group were branded with our company logo, fonts, and color palette. This really started making us feel like a real company. Assignments started feeling more like deadlines that the company had to meet to be financially viable, and that made us more determined than ever to get things right. Because of that, the majority of the week was again spent refining our documents. We had to do a lot of finagling to get the P&Ls to 50%+ profit margins (which is the recommended number, btw, for any book after marketing and development costs…. a good way to see if you’re not losing a ton of money on your books over time) but we got them there!

And then it was all about the marketing plans. We actually started them from scratch again after feedback from a publicist, and got pretty creative with how and where we were going to distribute, as well as where we’d look for free publicity. I think the most interesting thing about the marketing plans is that, in the end, we didn’t put too much pressure on social media, and the publicist really encouraged that. Something for indie authors to think about, I guess… since we are encouraged to spend SO much time online, but it turns out sales are made in many different ways, and the more creative ones tend to have the most return on your efforts.

We also finalized the designs for our printed documents (the catalogue and tip sheets [I should really talk about tip sheets one day; they’re pretty interesting]). This was about the point that I was feeling the pinch. I asked for it, but my design work is under a microscope, so things like text being optically aligned instead of using the computer’s ruler, and solving rivers in the text were basically the bane of my existence, haha. But, I persevered!

Week 5

This was our “reprieve” week. We’d front-loaded so many of our assignments that we sort of had a lot of free time for Week Five, which was nice. We talked about how to create the promotional materials for our books, which would be given to the sales reps on December 4th, and then basically worked on cover designs and jacket copy. It was pretty interesting, because we had a really visceral reaction to our novel’s cover from one of the panelists, who literally held the cover away from his body and said “I HATE this cover!” It shook us a bit, but we polled the entire cohort and even some of the faculty, and realized one of the biggest points of Book Project: you don’t have to take every piece of advice to heart. We kept the cover design.

The adjustments, though. They became the single most annoying and incessant aspect of this course. Change a single word. Adjust the photo contrast. Try a new font. Swap out the blurbs. Increase the margins by .25″. Crop the image. We were working on the jacket copy until literally hours before the cover got sent to the printer, and then I still found things I would have changed later. Another important lesson of the Book Project: No book is ever done… it just meets its deadline.

The fun thing we did that week, because we just needed to get our heads away from book descriptions and covers, was decorate our office for Christmas. I even Photoshopped a company Christmas card, which we put outside our door.

Margin Press Christmas
We had a little too much fun cutting out snowflakes and making parody Christmas songs for publishing.

Week 6

Last week of the project, ahhhh!!! I thought it might be fun to, instead of summarize as above, share with you all a sample of one of the real reports we had to send to the faculty every week. This was my second one:

Margin Press Publisher of the Week Report: Week 6

Heading into Week 7…

I’m going to save the sales conference for another post! And when I post that, you’ll get to see our finalized covers and promotional items, catalogue and tip sheets as well! The good news is that we had ZERO problems with our print job…. shocker! 😛

Is there anything about the book process that you are particularly interested in? I have so many notes and my brain is just bursting with information now, and I’m trying to think about what would be post-worthy going forward.


Episode 3: October Wrap-Up

October and November were extremely busy months for me. Multiple assignments and projects across all of the courses suddenly began or reached their deadlines, and there was simply no time for anything else. Now that the winter holiday has begun and I am blissfully allowed to stay in my pajamas whenever I feel like it, it’s time to catch up on the list of blog posts I’ve been wanting to get to. I’m starting with #MPUB’s October wrap-up.

The Courses

PUB 600 (Topics in Publishing Management): Sadly, this course ended halfway through October. We presented the marketing plans for another group’s book on the 13th, and then class was basically over. I also turned in my third assignment, which I talked about in Episode 2. I’m pretty proud of what I accomplished in that course, and am eager to learn from Prof. Johnson again next term, when we switch gears to learn more about magazines.

A lot of presenters came to our class in October, including Zoe Grams, from ZG Communications; Shannon Emmerson, Jane Hope and Taryn Hardes from ECHO Storytelling Agency; Joyce Burn from Avenue Magazine; and Sean Tyson from Each presenter brought their own expertise on book marketing, publicity, women in publishing, and content marketing (as an added revenue stream for publishers).

PUB601 (Editorial Theory and Practice): Prof. Steedman pulled back some of the intensity of PUB600 this month as PUB605: Book Project started. He’s the instructor for both, so was the most acutely aware of the amount of work we were going to dive into. I did have to give a seven minute presentation on a topic of my choosing, though. I decided to talk about beta readers and their role in publishing, as it seemed the whole process of selecting/using them was a bit mysterious to the class (or at least those who’d never done creative writing before). Unfortunately, the dates for the presentation were bumped, and I had to give mine the day after the US elections. I was so overwhelmed by the events of the previous day that I hadn’t even been able to get through a practice run without getting distracted. I think at one point I even said “Well, I’ve lost the plot” during the actual presentation…. yikes. But, my very generous cohort said I did fine, and in the end I got a B on it. Or an A-. I can never tell. Canadian grading systems are so different! Most departments grade on a sliding scale, but if you get 80-85% or above, you’ve got an A…. compare that to the US’s 92+… (no wonder Americans are so freaked out about our grades all the time…)

We had two industry guests this month, both whom I really enjoyed listening to. Barbara Pulling, an editor, came in and talked about a matter close to my own heart: editing fiction! And then we had Robert McCullough (who edited Butter, one of my favorite books from the year!) come in from Appetite by Random House…. and that was highly amusing. I also got a free cookbook, which is never a bad thing! It’s so pretty…. 😍

PUB602 (Design and Production Control in Publishing): Remember how I said I was going to be doing a redesign of all ten books of Roger Zelazny’s Chronicles of Amber omnibus despite only being assigned one? Yeah, probably not. Unless I make all ten books separate from one another… which could happen. Then I could play with the cover designs…. hmmm. Well, the debate continues, but October in 602 was pretty mellow.

The first two lectures of the month were about branding (with Prof. Pagé). We looked at various examples of how publishers not only brand series or themselves (most famously Penguin), but also how a publisher can brand an author through graphic design. One of the great examples of this is V.E. Schwab. You know Schwab’s books right when you see them.


Lara Smith from Figure 1 in Vancouver came in to talk about distributor (printer) relationships, and the importance of checking your documents thoroughly. She also talked about the whole printing process, which was pretty fascinating, but I won’t bore you all with those notes!

We also had Peter Cocking, one of the premier book cover designers in Canada, come in to talk with us about cover elements and layout. I learned so much, and really enjoyed it. The lecture made me determined to try and self-teach myself Illustrator over the winter break. I have a free account to as long as I’m an SFU student, so I might as well make the most of it! Here are some of the covers he showed us:

PUB802 (Technology and Evolving Forms of Publishing): PUB802 has continued to be the class that challenges me the most, and October was no exception. I had two essays due (of which I published both here [1 & 2]… sorry to be a bore!) and since I signed up to lead the class in a tech lesson, I taught the class about Sigil, an ebook editing software. While I made a bunch of materials for the course, I figure other people who create their own ebooks might appreciate the materials as well, so I’m going against my better freelancer judgement and sharing it here!

Download the whole class’s materials via Google Drive

PUB605 (Books & Long-Form Titles): The dreaded Book Project has begun! This is a seven-week project that simulates a real publishing house. The department describes the course as: “During this 7-week simulation project, students work in groups to form a publishing company and to establish a list of 4-6 book or other long-form works in print and digital. Weekly assignments progress from establishing a company branding and identity to forming title ideas and then doing everything necessary to bring those titles to market. The project culminates with a presentation to an industry panel, faculty and guests.”

We were randomly put into groups of 5-7 people, given a parent company (ours was ECW Press) and a mandate (we had to incorporate technology in some way into our company). Then we were set loose into the wild. The first couple of weeks in the project were absolutely insane. Multiple six-hour meetings, which meant getting home at midnight, pitching ideas and developing titles and authors from scratch. I’ll have to do an entire blog post on it in the near future, but I don’t want to give too much of it away. Part of the not-knowing the details is critical to the project’s core purpose: to simulate the real publishing world, where conflicting advice and critiques are an everyday thing. All I can say is, if you are thinking of applying to MPUB, be prepared to work hard and make time for your teammates. It’s just seven weeks. Keep your schedule clear!


It was another busy month. Much tea was consumed. Despite all the coursework, I still had a little time to do other things, too, like attend some panels at Writer’s Fest, kick out some more freelance book projects, and put my name in the hat to attend DHSI this summer, a conference for tech and publishing. I was told a few days later that I get to attend, for free! So are two other girls from my cohort. We’re all going to rent an AirBnB in Victoria, near the beach, and have a grand old time for a week. I’m so excited!

Other than that, not much happened in October… 😂 How about you?