Publishing: Independent & "Indie"

It's been a couple of months now since my book came out, on the excellent Dead Ink Books. It has been such a fun few months. The guys behind the press - Wes and Nathan - have done so much great stuff that I could never have managed to do by myself. I've been on a book tour with my Dead Ink cohort Richard Smyth. Both of us have been to Manchester, London, Leeds, and Wakefield, on promotional events. We've been in the paper and in magazines. It really has been a great experience and I'm massively grateful to everyone at Dead Ink for everything they've done, and to Richard for making the book tour so enjoyable.

My friends will attest that I'm a big fan of Independent Things. Independent shops, independent cafes, independent music, independent clothes, the newspaper The Independent. Basically if you put the word "Independent" in front of it, there's a fair bet I'll find something to like about it.

You see, the thing about independent things is that they're INTERESTING. In independent record labels, and in independent press, you find fanatically driven people putting out the things they love with few resources, and doing it because they love it. That's the sort of thing that's exactly up my street.

Dead Ink have been running as a press now for several years, and they're pretty well established. They started out as a digital only imprint, and now do 'actual' books. (With pages, and everything.) I had always hoped to have my book come out on an independent press, so I was really excited when they got in touch and said they wanted to publish my book.

Because I'm such a fan of Independent Things, people often ask me what I think about self-publishing. (Confusingly, people who self-publish also often call themselves "Indie Authors".) I've got an opinion about it, just like I've got an opinion about everything.

Lots of people are self-publishing these days. It's so much easier than it used to be, and as a consequence loads of people are doing it. A lot of the people I've talked to who have self-published, end up doing it because they haven't been able to find a publisher for their work. Nothing wrong with that, if that's the way you want to do it. But one thing that I've found in working with an independent press is, that even working with a small press you have so many more resources and reach than you would have putting something out yourself.

Here are the things I've really enjoyed in my experience working with Dead Ink Books.

1. Editorial input.

In summer 2013, I handed Nathan Connolly what I thought was the final draft of my novel. I'd got things as far as I could myself, and had already sent the book around a few trusted writer-friends for critique. But what the book really needed was an editor's eye: somebody experienced, who could look at my work fully objectively (let's face it, your writer-friends are never going to be as savage as you need them to be) and tell me where I was going wrong.

Nathan had a few suggestions about the structure of the book, and about where I could work a bit harder to improve things. Many of his suggestions were extremely good and changed the book much for the better.

If I hadn't had access to an editor through working with Dead Ink, I can categorically say that Brick Mother would have been a much worse book.

2. Graphic design.

I cannot draw for toffee. I have friends who can, but if I'd been self-publishing, I would have had to pay a friend to make the cover. And yes, drawing a cover is a service you should pay for - because good design and artistry costs money, and I wouldn't feel great about asking a friend to do it for nothing.

In addition, because they're my friends and I don't want to hurt their feelings, if they'd done a not-quite-right version of the cover, I wouldn't have felt able to say. Working with the fab Estelle Morris (who designed the cover both of Brick Mother and of Wild Ink), I was able to email suggestions back and forth, and choose from an impressive array of images which she'd given to me to choose from. It was a very good experience and I think the cover looks ace.

3. Publicity & distribution

Now this is a big one. I like socialising and I like a good chat, but a salesperson I am not. Could I go around book fairs convincing a distributor to pick up my book so it would make its way into shops up and down the country? I could not. But Wes and Nathan can: they've got all the Dead Ink books distributed, in shops throughout the UK. To my knowledge, there isn't a distribution company in the UK that will distribute self-published titles into shops.

And as for publicity: we've been in various blogs, magazines and papers. Some of the blog stuff, I sorted out myself - but I do also think that many of the blogs wouldn't have touched my book with somebody else's bargepole if it hadn't had a good cover, good content (see above) or been published by reputable small press.

In addition, I've appeared at two literature festivals and two book parties now, all publicity events which were organised by people at Dead Ink. It's crucial to me that that kind of organisation stuff was sorted out by somebody else: it left me with more free time to write.

4. Infrastructure and organisation.

Every time you sort out a book review, a goodwill copy, journalistic requests, etc, somebody, somewhere, has to get down the post office and send books out. Somebody has to warehouse the books somewhere, whether it's a sort of modest warehouse that also doubles as a spare room or a box under the kitchen table.

Who has done this for me and my cohort Richard Smyth? Wes and Nathan. Yes, I've got a box of books in my house, but they're my books, for me to take around events and sell. They're not books that I have to use to fulfil orders through the website - Nathan and Wes do that. Again, leaving my hands free from organisational stuff, in order to have more time to write.

It is true that alongside this I manage my own social media account (Twitter! Facebook!) - but thanks to the input and doings of Dead Ink, I don't need to use my own accounts to spam my followers / friends with exhortations to buy my book. I hate it when authors do that and, thanks to Dead Ink, who will do some of it for me, I don't need to do it all myself.

Now out!

After months of hard labour, copies of my letterpress & handmade short story chapbook 'A Stranger Came' are now officially available! They're priced at £3.90 post paid to UK addresses - contact me for prices if you live outside of the UK. I'll accept payment by paypal, cheque, or the time-honoured method of sticking coins to a bit of card and sending them through the post and hoping for the best. Contact me at the email address in my profile, or leave a comment below, if you want one.

A Stranger Came: Out Shortly!

A close up of those bound edges

'Tis nearly finished! After months of labour, A Stranger Came is now (almost) completely bound, cut and ready to go. It will be out later on this week. Two things remain to be done: the pages trimmed, and for each copy to be numbered. I am sure I won't get writer's cramp doing the second one.

Let's have a look at those different-coloured covers in full.



L-R: White with ltd edition silver binding; cream; brown; pale yellow




Pale yellow; cream; brown; white with ltd edition silver binding

Currently reading

Trust me, I'm a junior doctor Max Pemberton
The Crystal World JG Ballard

What a bind!

These are the pages of my short story 'zine A Stranger Came. Those of you who've been following my blog regularly will know that I've been typesetting and letterpress printing this story for the past few months. It's been a bit of a painstaking endeavour! The text is set in Morris Gold 8pt type, and because I didn't have enough of it to set a full page at a time, I instead spent many weeks typesetting two paragraphs at once, printing those, breaking up the type, sorting it, and then setting the next two paragraphs....

The last of the printing itself was finished about a month ago. (Special thanks at this point must go to Nick at The Print Project for teaching me how to typeset and print, and for letting me come over every week to print more bits of it.)

This week, the pages will at last get bound together. The rather marvellous Alice Rix is going to come around to lend a hand, and to help me work out how to bind it. Hopefully, by the end of this week, 86 copies of A Stranger Came should be bound and cut and ready for sale.

Here are the things you need for binding:


Clockwise from top: Craft knife costing £2.69 or less; hole punching device; hammer; embroidery thread.

More to follow.

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Burma Boy Biyi Bandele
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A letterpress tale...

Last week, I finished letterpress printing my short story chapbook, 'A Stranger Came'. I wrote this story last year. It's a tale of isolation and betrayal, all set in the picturesque heart of the Yorkshire Dales.

It's hard to explain the beauty of letterpress printing without getting helplessly nerdy about it. Letterpress is an old and obselete technique for printing which involves setting metal type - in individual letters - into words and sentences, and then printing them with an old and dangerous press. Since starting to learn to typeset and print in November last year at The Print Project, Bradford, I have only come to love letterpress more and more, even though it is a frustrating, time-consuming and sometimes teeth-gnashing process, with no shortcuts.

A lot of people have asked me "why bother with letterpress, when you could use a computer?" The answer is that there's no comparison between the end results. If you hold something produced using letterpress in your hands, you feel the impression the type and text leave in the page; you can literally feel the hours of human labour that have gone into creating it. When you touch the page and the impressions, you know that this is something made by another human hand.

Letterpress isn't used for large-scale commercial printing any more, and is slowly dying out. The machines and typesets that produce it are no longer made, and the techniques kept alive by being passed on from enthusiast to enthusiast. Many commercial printers are closing their doors as their businesses become untenable. The typeset that I used for this short story came to me from one such printer, in Sheffield. The man who ran the business no longer needed any of his typesets, and ended up as good as giving them away.

After I'd set and printed the first page with my typeset, I noticed what an unusual font it was. It had an upwards sloping e, and looked somewhat old fashioned. I wondered what it was; I trawled font sites on the internet without success, and nobody I knew could identify it. In the end, someone at the Briar Press letterpress community told me what it was: Morris Gold, a font designed by William Morris in the 19th Century.

William Morris, an active member in the Arts & Crafts movement, was a successful furniture designer for most of his career. Late in life, he got interested in printing and started the Kelmscott Press. Many printing houses of the time were using compressed types, because it used less paper and saved money. But Morris' aim with the Kelmscott Press was to produce beautiful books at affordable prices, and he didn't want to follow their example. Keen to distinguish his press from other outfits, he designed a font of his own, basing it on an old Roman type. It was used to print the first few Kelmscott Press titles, and earned itself the nickname 'Morris Gold'. I couldn't believe that I'd ended up with a tray of it myself, and completely by accident!

I used the typeset to print the entirety of 'A Stranger Came', printing it paragraph by paragraph as there wasn't quite enough type to do a full page at a time. As I reached the end of the chapbook, I noticed how worn the type was becoming. The act of printing wears the type down at the edges, and causes it to become blunt and unreadable; and so, with regret, I think this particular typeset will have to go into retirement lest it becomes blunt entirely. All the same, I was glad to have been able to use it to letterpress print a full short story with its use. I like to think that William Morris would have been proud to see some of his type be used for this purpose in its last ever outing before retirement.

Letterpress errors [ " Letterprerrors " ]

Regular readers of my blog might know that I've been learning to Letterpress over the past few months. Letterpress printing is an old technique which involves setting lines of metal type, putting them in a printing press, and then imprinting and inking the whole shebang onto paper. It produces beautiful results quite unlike any other - the metal type often leaves a slight imprint into the paper, so that you can 'feel' the text with your hands. It's a lengthy and laborious process that used to form the mainstay of printing, but with the advent of computers, has fallen into disuse. These days it is mainly used by enthusiasts and diehards, and wordy nerds like me.

Currently I'm in the process of setting and printing a short story I wrote last year entitled 'A Stranger Came'. Letterpress seemed to be the ideal way to present this story - I'm doing a short run of about 90, which I will then bind myself once all the pages are printed. I expect the books to be finished some time in early May.

It's been an interesting few months, and I've learned loads. Here, in this blog post, I'm going to post a few of the mistakes I've made while printing, so that you can avoid making the same mistakes yourself - if you're going to try and operate a printing press, that is.

This is what happens when your lovely, expensive paper falls off the press and into the rollers.



And this is what happens when skin from the ink gets onto your typeset.



This is what happens when you don't line the paper up properly....



...and this is what it looks like when you do it right.



Currently reading

A Mercy Toni Morrison
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LETTERPRESS

A couple of months ago, I did a little 'post' about The Print Project, who have a working letterpress in the basement of the 1 in 12 Club in Bradford. Last week I went there and had 'a go' on it myself.

Here are some pictures.



In letterpress, the printing is done using typeface made of ACTUAL METAL. ACTUAL METAL that you set yourself, using ACTUAL HANDS. (I got covered in a lot of ink doing this). In the picture above, you can see the trays full of typeface bits. Above the trays, but just out of shot, there's a little card showing you which letters are in which compartments.

Apparently, once you get used to setting type, you don't need to refer to the card any more, since you get so smart about knowing where the letters are kept. This is not me.... yet. Maybe one day.



This is a line of text. Look at the little metal letters! In between each word, you insert 'spaces'; little slivers and blocks of metal that separate the letters from one another. You have to be super-careful lifting it out of the tray, otherwise the text spills all over the floor and you cry bitter tears of regret, like a big clumsy baby.



This is the line of text in 'the chase'. Its secured into place using 'furniture' (bits of wood) and then tightened up with 'quoins'. It has to go in good and tight, otherwise the letters will fall out when you put the whole shebang in the press (see above, 'crying bitter tears of regret like a big clumsy baby'.) You do not want the letters falling out. Aside from the fact it takes ages to set everything, you don't want to be scrabbling about under the machine trying to retrieve all the bits of typeface. That's like a public safety information video waiting to happen.



This is what it looks like when you set the typeface backwards, like a big bloody idiot. Ahem.




....and this is what it looks like when you do it right!

I had such good fun using the letterpress - thanks very much to Nick for showing me how it all worked, and for helping me get the chase into the machine right. I'm hoping to set some more text and print some more 'words of encouragement for writers' cards in the near future.... watch this space.

In the meantime, you can visit The Print Project on the internet.