Publishing Team: Why you need one as an Indie Author

Self-publishing authors need a publishing team to help with all the stages traditionally published writers get done for them.

The self-publishing market has exploded since 2010. But this means that as a self-publishing author, you must carry out all the stages your traditionally published peers get done for them.

The Self-publishing Learning Curve.

At first, self-publishing seems like the easy choice, with no rejection letters, no negotiating royalties, and no forced deadlines. However, when you investigate self-publishing more deeply, you soon realise that a lot goes into publishing a book beyond simply hitting publish.

There are many departments and specialists within a traditional publishing company, each playing its part. As an indie author taking the self-publishing route, you’ll oversee the editing, designing, typesetting, proofreading, distribution, marketing, and finance surrounding the publication of your book.

“It’s a misnomer to call it self-publishing. No one does it by themselves. You have to have cover designers, book designers to do the layout, and usually marketing support and help. So, there’s a big team that any self-published author needs to create to make a project successful.”

Tom Corson Knowles (author)

But you don’t have to do all of this alone. Finding the right people to help you get your books out is essential. Thankfully, when self-publishing started to take off, many people who had worked for traditional publishers decided to do freelance work instead. They like the freedom and flexibility of working as a freelance provider and the access to self-published authors.

How to Create the Best Team to Support Your Book

Let’s talk about two of the many hats you can delegate:

  • Editing
  • Cover design

“The most common advice is to ask your peers and other authors in your genre. On the one hand, I think it’s great advice because what worked for one author might work for you. But on the other hand, it depends a lot on your genre, for both cover design and editing. Editing depends a lot on your personality and writing style.”

Ricardo Fayet (creator of readsy)

Finding the Right Editor

The most important factors affecting your relationship with your editor are your personality and writing style. Because every writer is different, it’s less likely that one author’s advice about a good editor will translate into a good working experience for another.

When looking for an editor, it’s best to look for an editor who specialises in your genre. Reach out to three or four and see how they work; look at their social media. Good editors usually ask for a small sample of your work; this lets you both get a feel for the relationship before you commit to working together. Taking these steps is even more important when looking for a developmental editor; you want someone specialising in editing your genre!

When you hire an editor, it’s all about developing the right kind of relationship. That’s why it is crucial to reach out to several people, get quotes, and get an idea of what type of feedback each editor will give you.

The best way to ensure you will have a good relationship with an editor is to check out their social media. Do you like their posts? Can you relate to their writing and communication style? It’s perfectly normal to contact a few editors until you find a good fit.

The editor/author collaboration is a special relationship, and you must make sure your personalities match as much as possible before you agree to work on a larger project together.

After the editor receives your submission, they’ll likely have additional questions. Typically, after an editor responds to you, a natural conversation takes place.

If, after you send initial information to an editor, that conversation doesn’t take place, you should look for another professional.

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Photo by Ivan Samkov on Pexels.com

Finding the Right Cover Designer

The most crucial factor that affects the cover design is your genre or category. Ask authors in your specific genre or category for advice and recommendations on cover designers.

Communication is always vital. If you start a project with a £500 budget and find a cover designer who says they’ll design you a cover without asking questions, that’s a warning sign. You haven’t said what genre your book is or whether your cover design is for a print book or an ebook. Those are fundamental questions that any good cover designer would ask.

It’s always good practice to send your designer images for inspiration. Find two or three covers on Amazon in the genre of your book that you like. When you send those to the cover designer, that’s going to give them an idea of what appeals to you, and then they’ll most likely begin a conversation with you about the specifics of your cover.

You must hire a cover designer with experience with book cover design, especially if you don’t. If you are an experienced indie author, you can take on an inexperienced cover designer because you’ve been through it before. But if this is your first project, you want someone who knows the ins and outs of cover design.

You’ll want someone who:

  • Knows the type of images that will work for your genre cover.
  • Knows the kind of typography that will work for your genre cover.
  • Knows how to lay out your cover so that it looks right.
  • Has to experience the problems that can occur when designing a cover.
young focused artists working together with sketches
Photo by Anna Shvets on Pexels.com

How to Get the Best Out of Your Team

It may seem strange, but it’s probably best to work with editors, marketing assistants, and cover designers with fewer clients. If you work with freelancers with fewer clients, they’ll have more time to devote to your individual projects.

Communicate, communicate, communicate! If you’re not honest about a problem at the beginning of the process, it leads to miscommunication, hurt feelings, and bad relationships throughout the entire process. Bad situations like this mean losing time and money for you and your team member.

The longer you wait to let your freelancer know there’s a problem with your project, the more likely it is that you won’t be able to publish your project on time. Don’t be afraid to tell a freelancer that you don’t like how the project is going early.

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Photo by fauxels on Pexels.com

Final Thoughts

Experienced freelancers will ask the most questions up front because they know the process and all the issues that might pop up during their work. They’ll want to have as many solutions for those potential problems as possible before they put in the time and effort to do the project.

If you’re on a tight deadline, you must contact multiple specialists for the position you need to fill. It’s also important to brief them thoroughly about the project so the rest of the process can go smoothly.

Feel free to ask me any questions you want. My inbox is always open, and I’m happy to recommend freelancers for your project from my extensive network of friends in the industry.

For more helpful resources about self-publishing and the craft of writing, check out my Resource Library.

Conscious Language: Q&A with Crystal Shelley

Words have Power

I don’t think any of us refute that statement. Words can empower and uplift people or isolate them and cause harm. My training as a teaching assistant taught me many useful skills. It also gave me valuable information about the use of inclusive language with children and young people.

However, this is such a large subject that I’ve invited a guest to answer a few questions about conscious language. Crystal Shelley is the owner of Rabbit with a Red Pen. She provides editing and authenticity reading services to fiction authors. I’ve heard Crystal speak about the importance of conscious language on podcasts and read her blog posts on the subject.


Hi Crystal and welcome to The BG Blog,

Q1. For anyone who doesn’t know, what is conscious language, and does it differ from gendered language and inclusive language? 

Conscious language is a coin termed by a writer and editor named Karen Yin. She describes it as “language rooted in critical thinking and compassion, used skillfully in a specific context.” The goal of the conscious language approach is to consider how the writer’s intent can be best achieved based on the context of the piece, which might require questioning language and framing that is commonly used but possibly biased, harmful, or exclusive. 

Inclusive language is similar, but the idea of critical assessment based on context and intent isn’t necessarily built into inclusive language. Gendered language refers to language that references gender, such as saying “mankind” or “ladies and gentlemen.” There’s been a push for gender-neutral language when the intent is to speak to a broader audience, regardless of gender, such as saying “humankind” or “folks.”

Q2. When did you first become aware of conscious language, and what drew you into championing it in the publishing industry?

I first became aware of conscious language in 2019 when I started my freelance editing business, but I’ve been conscious of my own language since what feels like forever. When I discovered Karen Yin’s website Conscious Style Guide, which is what started the conscious language movement, I found a name for what I’d been doing.

As an editor, I’m looking critically at the works I’m editing for anything that will make a reader pause, stumble, or stop reading. This includes when language or representation is potentially harmful. I believe it should be part of every editor’s job to look for these types of issues and to let the writer know about them so they can make informed choices for their work. That’s why I advocate for it in the publishing industry and created the Conscious Language Toolkits for Writers and for Editors.

Q3. What is sensitivity reading, and is authenticity reading the same thing?

Sensitivity reading, which I call authenticity reading for reasons outlined in an article I wrote, is a service that’s used when writers want feedback about an identity or experience they’re writing about from someone who has that identity or experience. It’s often used when the writer is writing outside of what they know. The reader can evaluate how the writer handled things—what’s done well, what’s inaccurate, and what might need to be adjusted. For example, if I’m writing a blind character but I’m not blind myself, I can hire an authenticity reader who’s blind to assess how well I represented what a blind person’s experience might be like.

Q4. What steps can writers take to ensure that they’re not inadvertently distorting their intended meaning? Or, worst-case scenario, offending their readers!

Learning about language is so critical, such as the origins of terms or phrases, how they’ve been used to harm or oppress groups, and what alternatives can be used instead. This can be a daunting undertaking, and the learning process is never-ending. There are tons of resources out there about language, and I recommend going to the source and learning from those who are directly affected by the language being used. (I list some resources below.)

Recognizing our unconscious biases is also an uncomfortable but necessary step in the learning process. Taking tests from Project Implicit can help reveal biases, and based on those results, you can seek out resources to learn more.

Asking someone to look at the writing and offer honest feedback can also be helpful. Ideally, this should be someone from your target audience.

Q5. Could you recommend 5 useful resources should my readers want to learn more about conscious language.

There are tons of resources out there, but here are some of the ones I recommend most often, in addition to Conscious Style Guide:

Crystal Shelley headshot
Crystal Shelley

Crystal Shelley is the owner of Rabbit with a Red Pen, where she provides editing and authenticity reading services to fiction authors. Drawing on her background as a social worker, she unites her love of language and her passion for social justice by advocating conscious language use and inclusive representation in her editorial work.

She is the creator of the Conscious Language Toolkits for Editors and Writers and serves on the board of ACES: The Society for Editing. When she’s not working with words, she’s probably swearing at a video game.

Connect with her on Twitter, Instagram, and LinkedIn

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I hope that you enjoyed this post and found it as informative as I did. Ensure we are being as inclusive as possible when in conversation and in our writing. I love Crystal’s passion for the written word and her community spirit. She’s an editing treasure! 💙

Do you follow Crystal on any of her social media accounts? Please take a moment to visit her blog, Rabbit with a Red Pen like, follow and comment on a few posts.

For more helpful resources about the craft of writing, check out my Resource Library.