Interview with Dr. Debra Blaine – Part 1 – 372
In this podcast episode, John interviews Dr. Debra Blaine, a returning guest from 2022, for Part 1 of a discussion on how to publish a book and promote your business.
Dr. Blaine, a family physician turned full-time author, shares her experiences transitioning from medical practice to writing and self-publishing seven books since 2017.
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The Power of Self-Publishing
Dr. Debra Blaine shares her journey from medical practice to full-time author, having published seven books since 2017. She discusses the advantages of self-publishing, including greater control over the publishing process, faster turnaround times, and significantly higher royalties.
Self-publishing allows authors to maintain ownership of their work and make decisions about cover design, titles, and content without interference from traditional publishers.
Tools and Techniques for Successful Self-Publishing
Debra recommends software like Vellum for formatting books and creating files for multiple e-book platforms and print versions. She emphasizes the importance of professional editing, effective cover design, and strategic use of metadata to improve discoverability.
During our conversation, Debra highlights the need for authors to understand the technical aspects of self-publishing, including setting up distribution accounts and calculating royalties. All of this is explained in her first self-published self-help book on the topic of self-publishing called, “
Crafting Compelling Fiction
Drawing from her experience as an author and coach, Dr. Blaine offers insights into creating engaging fiction. She stresses the importance of a strong story arc, believable characters, and natural dialogue. The post discusses techniques for hooking readers from the first pages and creating emotional connections with characters.
Summary
In Part 1 of this 2-part episode, returning guest Deborah Blaine discusses her transition from physician to full-time author. She explains the benefits of self-publishing. She also shares insights on self-publishing, including tools, techniques, and the importance of effective book design and metadata. Finally, she offers her advice on crafting compelling fiction, focusing on the creative aspects of writing.
Links for today's episode:
- Dr. Debra Blaine's Website: All Things Writing
- Debra's book on self-publishing,
- Debra's latest book on writing a novel: The WriteR Stuff: Secret Sauce of Writing Fiction
- For an example of Debra's writing download a free copy of Deadly Algorithm
- Vellum, the software Debra uses to write her books (this is an affiliate link)
- Debra's LinkedIn Page
- Purchase Your All Action Pass Videos and Bonuses from the 2024 Summit (Use Coupon Code 30-OFF)
- The Nonclinical Career Academy
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Transcription PNC Podcast Episode 372
How to Publish a Book and Promote Your Business - Part 1
John: I really enjoy reading novels. I've slowed down recently, but I probably read 10 or 15 novels when I was really in the mood to read some years. But that's in addition to all the business and self-help books, things like that over the years. And I've always been impressed by the combination of creativity and discipline that successful novelists have. So, I think of people that are creative as being creative. But to be creative and disciplined, that's something a little bit different.
Anyway, I invited Dr. Debra Blaine back to the podcast now because she's a novelist. She's been writing for years. She's been on the podcast two or three times before. And she just recently self-published a book on self-publishing. That was very Meta. So welcome back, Debra, to the podcast.
Dr. Debra Blaine: Thank you so much, John. Thanks for having me.
John: It's always fun when we get together. We have a lot to talk about, but you've been very busy. I don't talk to too many writers that can say that you've written how many books in how many years now?
Dr. Debra Blaine: Well, I started just writing a first draft in 2017, but I have now published seven books.
John: Okay.
Dr. Debra Blaine: And I'm working on some more.
John: That's quite a lot of productivity there from the writing standpoint. So if you can keep that up, then you'll have a lot of books out there over the years. And the other thing, of course, the listeners should remember that one of the things that makes you unique, I've had other writers on, but they're mostly medical writers, but you made a commitment. You decided, "You know what? I'm going to stop practicing and I am going to try to grow this writing thing to be sort of my new vocation." Is that what I recall correctly?
Dr. Debra Blaine: Correctly.
John: Okay. And you're actually the only one I've ever interviewed that has written a novel or six. And I had one poet once that wrote a book of poetry. I don't know if that that doesn't quite count. I don't think so. Anyway, let's get into what's new with you. Fill us in since you know what's been going on since we talked. Oh, it's been about almost two years ago.
Dr. Debra Blaine: Great. It's interesting. You said I decided. I was writing as kind of a side gig. Sometimes life comes along and kicks you in the butt and says, okay, you're really miserable practicing medicine and you're not going to do this anymore, even though you think that maybe you should or whatever reason. I got Covid about 18 months ago and it completely changed my life. I'm a very special person. I'm one of the seven percent who got long Covid. And I still even now, I cannot focus for 12 hours straight. I don't have the stamina to go from room to room, to room, to room and spend every moment of those 12 hours concentrating or treating patients thinking I need to take breaks. And what they told me was when I asked them and I said, "Listen, I'll come back to work, but I'm going to need to take a 10 minute break every three or four hours." And they actually wrote it in a text. "Unfortunately, there are no breaks in urgent care."
And so that being said, I resigned. I was on disability for six months and then that ran out. And then life kicked in and kicked me in the butt and said, okay, you have the side gig. And I think that even if that hadn't happened, I feel like a lot of my life and a lot of perhaps other people's lives is constantly redefining where we're going. It's like if we're headed in one direction, sometimes it's not quite due north. Maybe it's northeast a little bit. Or maybe I need to take a detour over here. It's kind of a zigzag finding my way. It has been for me to find my way into what I really enjoy doing and to be able to throw myself into it.
I started writing in 2017, a few words scribbled on a couple of pages. I published that book in 2019. And since then, I've put out six more books. And this summer I put out two books. One of them is really short. The self-publishing book is pretty short. And I'm working on I'm working on two books now. And one of them is also a nonfiction, it's going to be a guide. And I'm going to come up with a better name for it, but a guide to fiction writers, the elements of fiction. What do you need to put in? How do you how do you determine a story arc? How do you develop characters so that it's more of a how to without having to get a master's degree in writing. Just in a short little book bum, bum, bum. These are the things to put in. This is why. And these are tips. I'm going to hopefully have that out in a couple of weeks.
John: But I have a question since you mentioned writing two books. The most writers, this is how I would think of it, would I would keep I would try and work on one till it was pretty much done and then go to the next as opposed to going to write two or three or four all simultaneously. I assume different authors, writers just do it differently.
Dr. Debra Blaine: Yeah. I thought I was absolutely out of my mind. But to me, they're different sides of the brain. Writing a guide about how to write fiction is kind of like writing a term paper, but making it interesting and fun. Whereas the trilogy I just started is a complete my right side of the brain. And it's a whole different kind of thinking. So they don't really clash. But the one of our colleagues who said she kindly said she would take a look at it when it's finished to tell me if I forgot anything. She said she's working on two books right now. And so she would get to a couple of weeks. I said, oh, I'm not the only one.
John: Yeah.
Dr. Debra Blaine: So I guess not. But yes, I think common sense. And certainly if you're a beginning writer, I would focus on one.
John: Yeah, that makes sense. I can imagine, though, the great writers that we all have our favorites. I could imagine if that was their full time occupation and they were really putting 40, 50 hours a week in it, that they might have three or four things going on at once, because I know there's certain times of the day, certain days of the week. And just the way your mind works, sometimes it's more focused on certain things than other things.
Dr. Debra Blaine: And some of them have ghostwriters for them, too.
John: Well, I got some questions for you today. We'll just kind of go wherever you want to go, but tell us about the self-publishing book. Why did you write it? And then you can tell us, some of the advantages to self-publishing while you're talking about that.
Dr. Debra Blaine: Okay. Just as a caveat to that, I'm going to say or a segue into that is that I think I've spent as much time studying, learning, going to webinars, reading about the authorship process, including publishing, as I did in basic sciences. And so, I learned to self-publish. And when I did that, everything changed for me. I could put books out so much faster. I could do it on my timeline. And I wanted to share that. I wanted other people to know that there's other options. If you want to go the traditional publishing road, you have to query an agent and the agent has to find a publisher. And the process can take forever and literally because you may not ever find someone. Agents, I think they get like 200 queries a week and they have to go through. And most of the time, traditional publishers will not entertain your submission without it coming through an agent. And then there's hybrid publishers, but I wanted to be able to offer people how do you do it yourself because you can use a hybrid, which is a whole other thing.
Hybrids are pretty pricey. They go anywhere from like $5,000 to $7,000 to $15,000 to $17,000. I know one of our colleagues spent $17,000 on a done for you that was not really done for you. And I was like, wow, I did all that for a client and I didn't charge nearly that much. And I couldn't. I wouldn't ever do that like in in good conscience. I couldn't do that. But just to be able to show people that it's not hard.
I'm a technology challenged individual. If it's a software, I'm leaving. Until a couple of years ago, I didn't think I could handle anything like that. But when I spoke to, actually, it's the same person who's going to look at my book coming up and tell me if I'm missing anything. And she's published like twenty five books now. She's a successful author. I only knew her from the women physician writers group and Facebook group. But I remember I messaged her that I was thinking about using this self-publishing company and she messaged me back immediately "Stay away from this company." I was like, whoa. And then we got on the phone a few days later and she spent 45 minutes with me just telling me, "Okay, this is what you do. You do this, this, this and this. You know all the parts that go in the book because you already published two books with the hybrid. And I recommend that you set up accounts with each distributor."
It's a pain in the butt, but for her it was worth it because of the control she had and the visibility that she had and the ability to get paid quickly with royalties. I ended up doing that. That first book that I self-published was Beyond the Pillars of Salt. And from the time that I finished my final draft, which is when I would have sent it back to the hybrid because they were willing to publish another one for some another exorbitant fee. I think it would have been $9,000. From that day to the starting from there. I sent it to an editor. I got a cover designer. I got my ISBNs. I filled in everything I needed to do. I set up the accounts to the time that it was released and available everywhere around the world was 67 days.
The first two books, first they said six months and it came out in eight months. The second one, they told me six months. It came out in 11 months. And then for this third book, I was like, "Well, how much can you promise me? Because I want to wait a year with this." And they said, "Well, we can promise to a year", which could be 18 months. And so, that's when I said, okay, I'm going to try this. And I kind of very gingerly stepped into it.
And you can't tell that it's self-published. It's printed. The people who print it are the same people who print the traditionally published books. And as long as you have the software that I use, I use Vellum software, and it gives you all this. It creates the beginning of your copyright page. It creates your table of contents. It offers you a dedication page and an acknowledgement page and all the things that you want to put in. And now it's come up with things where if you add back matter, we can talk about back matter in a bit. It'll save that and add it to all your other books. If you want to say here's how to get in touch with me, you don't have to put it in every single time.
And the price, you can't beat the price because you pay once. First of all, you don't even pay right away. This was what helped me because they said I can download the software. I can play with it. I can put my stuff in. If it looks like I like it and I want to generate a book, then I pay them. I can hold on to it for six months and never use it. Whereas there's another one called Vellum is only good for a MacBook, Apple. But there's another one, Atticus, which is very popular, which is you can use on either PC or a Mac. They make you pay up front, but you have a 30 day where you can return it. I would guess, and I don't know this for sure, but I would guess that if you use it to generate books, you can no longer return it. But with either of these, you get unlimited books, eBooks or print books. When I generate files, I have separate files for Kindle, Nook, a generic EPUB, Apple Books, and a print. And it breaks it down for me. So when I go to upload those books, I just choose the correct file and there it goes.
John: All right. So let me ask a question here because I'm thinking some of our listeners are like me, like total novices. And what I know a little bit about is, there's a lot put out there about how to make money on the internet, writing books and that. But the whole gist I got from that was that if you put something together and it's done well, and it's helpful to people and you put it out there, someone's going to buy it. And if you can cut out the middleman, you can make more money selling it. But it never occurred to me, if you have this software, whatever it might be, Vellum, you mentioned, once you're using the software, you can write the book in Vellum, right? Isn't that how that works?
Dr. Debra Blaine: You can.
John: Do you do it like in Word or something else?
Dr. Debra Blaine: I do it in Word and then I upload the file. You can do it in Vellum. It's a different screen and I like the features that I have in Word better.
John: Okay. But it converts that easily, right?
Dr. Debra Blaine: Oh, yeah. It's got to be a DocX file.
John: Yeah.
Dr. Debra Blaine: Or a Word file or a Scrivener file.
John: But I'd never thought about that. Well, once you've done that, as you said, I never thought that, "Wow, if I write another book and then load that, everything else is already in there from the first book."
Dr. Debra Blaine: Yeah. You have to set it up for that.
John: Yeah. Awesome. Well, that's cool. Anyway, go on. Let's see, where were we? We're talking about, you learned all this and you've been using it. What are the other advantages besides the time component and the fact that it's really not that costly, but the other advantages to self-publishing?
Dr. Debra Blaine: Okay. I want to just add on, did you ask me why I started doing it? One of the things that I do for clients, for authors, is I help them self-publish their own book, which is often about their side gig. Because when you have a side gig, if you have either an eBook up on your website or a book on Amazon, and by the way, it can be available anywhere. You can have it go through IngramSpark and be distributed wherever you want. It's an unconscious assumption. If they have a book, they must know what they're talking about.
John: Right. That's right.
Dr. Debra Blaine: I had encouraged a lot of people and worked with people to write a book about their side gig and I hadn't done one myself and I thought, "Well, that's really stupid." That's why I started that. But the advantages are, there's two major advantages. One is the control that you have in terms of your timeline and the fact that you own your book. And the other big one is the money, the royalties.
When I took my books back from the hybrid and put them up myself, my royalties increased four times. And not only that, but when someone else is publishing your book it takes six months for them to tell you, "Okay, this is what you earned." Your earnings are a pittance and you don't see what's happening in between unless you bug them and ask them. And if they're in a good mood, they might tell you.
But when you self-publish, with Ingram, it's still the same. You can see what's happening, but you don't get paid for six months. But for example, on Amazon or Kobo or Apple or Barnes & Noble, you see day by day, how many people are buying your book and you get paid every 30 days. I think Barnes & Noble won't pay you unless you've got at least $10 in royalties, but hopefully you will. And they'll pay you direct deposit to your account. You set up your own accounts. Nobody else is putting their fingers in the middle. And it takes that whole part of when you're wanting to write a book and then you finish the book and you think, oh, great. And it's like, oh, I got to publish it now. That means you got to write a query letter and you got to find an agent and every agent wants a different kind of query letter.
So you can't just make one letter and send it to a bunch of people. You have to tailor it to each person. It just takes so much of that stress out of it. And then you have the control. If a traditional publisher picks up your book, they'll pay for everything, but they'll also tell you you're using this cover. We don't like your title. We're using this title. And you know what? This chapter doesn't fit. We want to get rid of it. We want you to write a chapter like that.
One of our colleagues has done well in terms of getting her books published. I think on the third book, she's with a traditional publisher. She wanted to write about a male main character, a male hero, instead of a female. And they said, no, we won't publish that because we have you in the female lead and we don't need you as a male lead. So you lose a lot and you don't own your book. And this way I own my books.
John: Okay. Now I was going to ask you to go over at the high level, the process of writing a book, but we might as well stop right here and just tell us about your book about self-publishing because bottom line is they're not going to remember everything that we talk about today, unless you're really taking great notes. And what they need to do is just get your book on self-publishing. So why don't you give us that information right now?
Dr. Debra Blaine: Okay. What I have in the book, actually I didn't want to miss anything. I wrote it somewhere so that I could take a look. I talk about the different kinds of publishing. I talk about how to get an editor. I'm an editor too, by the way. I learned to do that. How to get a cover design, what you want from your cover design. People do judge a book by their covers and how to figure out what's going to be effective because there are strategies to this.
See, I didn't know any of this before. The hybrid completely got the cover wrong for one of my books, Undo Influences. And I was told by someone that it looked like a psychology self-help book and it's a political thriller.
John: Yeah. I think the original has a picture of a brain on the front.
Dr. Debra Blaine: It does. You changed it.
John: You changed that. You got rid of that.
Dr. Debra Blaine: I got rid of that. I got rid of it. And now it looks like a thriller. And the sales went up and my royalties went up because for every sale, my royalties went up. I talk about how to format, setting up accounts, metadata and back matter. Once you have a couple of books, you may want to put in the back of the book, "Hey, see my other book? If you liked this book, go to this book, join my newsletter." I talk about how to do that and where to do that, because there are certain places where it's like the classic book, you think of once upon a time and then the end. The moment you write the end, Amazon, for example, if you're on a Kindle, we'll stop showing you the rest. You can go to it, but it'll immediately flip you to something else to buy because the book is over. So how do you get your messages, your links in before the end? Well, for one thing, you need to write the end and you don't end the chapter. When you finish the story, you put an ornamental break in there. And then if you like this, Amazon thinks it's still part of the algorithm, thinks it's still part of the meat of the book. Your reader will know that it's not part of the reader. If you wrote a good ending.
So, there's so many things that I've learned about, and I try to put a little bit of everything into that book I just published. I didn't want to put everything in, all the detail. Because it is overwhelming and I don't want to overwhelm anyone. That book is really for people who have written what they want to write and they're ready to publish and they know a little bit about it. They know my book needs, I want to put a dedication in it. I want to put an acknowledgement in it. I want the different things that they want to add about the author. They want to know where can I put a link to something else? Where do I put my other books? And that's what the purpose of that book and how to format and how to use software.
I also talk a little bit about how to write metadata. Metadata is your book description. I think it's official that human beings have the attention span of a goldfish. Have more attention than we do. We're just bombarded with so much information and people scan, but to get them to stop and read, you have about three seconds or less. You got to hit them with a hook, something that immediately makes them say, "Oh, I want to read about that." And so, you want to target that hook to the people who would be interested in your book. You don't want to hook someone who wants a great cooking recipe and then talk about a cozy mystery. You want to be appropriate.
I talk a little bit about writing metadata, the keywords, where you find your keywords. I didn't know anything about keywords and categories. And when I was getting it published by the hybrid, and certainly if a trad publisher, did they choose all that for you? Sometimes they're not working so well.
When you do it yourself, you can go right back in and change your keywords. You can change your categories and you can test it and say, "Okay, let's see if that works better." And I talk about how to calculate royalties. Just down to the nitty gritty, down to the penny. How do you calculate the royalties? What happens when you have so many fingers in the pie and where the money goes? Or in the case of Ingram, sometimes we don't really know where the money goes. It just disappears. And some of the common mistakes that authors make.
And then I have a checklist at the end for do it yourself. Bum, bum, bum, you're going to do this, this, this. While your book's being edited, you're going to get your cover designer. You're going to set up your account. I try to put it in a really simple format.
John: Nice. It sounds pretty comprehensive, but not overwhelming. Now you mentioned that you help others do this personally. And I think you have training as a coach.
Dr. Debra Blaine: I'm certified as a coach and a master trainer coach as well.
John: Oh yeah, that's right. I forgot about that. You have all the skills already to facilitate people on whatever it is they're doing whether it's life skills or writing a book. So what is the typical person come to you for now in terms of helping them? Is it the software? Is it more of the creative process, all the above?
Dr. Debra Blaine: I have more clients for the creative process, which is why I'm going to release another self-help book. My books are called the "Writer Stuff. And this is going to be the second one. And it's going to be just outlining what is the story arc and why is it important? How do you create dialogue that doesn't sound like he said, she said? How do you develop your characters so that they're believable and they're deep in there and people can get emotionally connected with them?
Characters drive your story always, and you have to care about your character. There's a book that was written called Save The Cat. I'm just going to work from the title because I'm not working from the whole book, but the idea that if you have a villain who you start the book, because you always want to start your book with something that draws the reader in. If the reader is not interested in the first two pages goldfish mentality, they're going to look inside, they're going to be like, "Yeah, I'll look for another book."
So you had to draw the reader in. So you got this guy, he's running because he just killed three people and he's slashed another one and he's running away. And then the police are after him. And as he goes into an alley, he hears a cat stuck on a fire escape and he stops and he brings the cat and he gets the cat to the ground and then runs off. Now, the police are even closer to him. So now it's like, okay, this is some evil dude. He's a murderer, but wait, he saved that little cat. So that idea, to make people care about this guy who's not just a murderer. We don't know why he murdered them yet, but we do know that there's something in him that's a good person.
That kind of stuff that gets a reader just interested enough to keep reading and want to keep reading. People when they read novels, they want to feel emotions. If they're reading a textbook, they want information. If they're reading a novel, they want to feel things. And especially in our day and age when there's not a lot of time spent on our feelings. I think when people read, they get into that. There's been studies shown that people who read fiction have a much reduced incidence of dementia later on.
John: Oh, really?
Dr. Debra Blaine: Not nonfiction, fiction. And I'm thinking it's because there's so many subplots that they're following along and it's a different part of the brain.
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Transcription PNC Podcast Episode 372
How to Publish a Book and Promote Your Business - Part 1
John: I really enjoy reading novels. I've slowed down recently, but I probably read 10 or 15 novels when I was really in the mood to read some years. But that's in addition to all the business and self-help books, things like that over the years. And I've always been impressed by the combination of creativity and discipline that successful novelists have. So, I think of people that are creative as being creative. But to be creative and disciplined, that's something a little bit different.
Anyway, I invited Dr. Debra Blaine back to the podcast now because she's a novelist. She's been writing for years. She's been on the podcast two or three times before. And she just recently self-published a book on self-publishing. That was very Meta. So welcome back, Debra, to the podcast.
Dr. Debra Blaine: Thank you so much, John. Thanks for having me.
John: It's always fun when we get together. We have a lot to talk about, but you've been very busy. I don't talk to too many writers that can say that you've written how many books in how many years now?
Dr. Debra Blaine: Well, I started just writing a first draft in 2017, but I have now published seven books.
John: Okay.
Dr. Debra Blaine: And I'm working on some more.
John: That's quite a lot of productivity there from the writing standpoint. So if you can keep that up, then you'll have a lot of books out there over the years. And the other thing, of course, the listeners should remember that one of the things that makes you unique, I've had other writers on, but they're mostly medical writers, but you made a commitment. You decided, "You know what? I'm going to stop practicing and I am going to try to grow this writing thing to be sort of my new vocation." Is that what I recall correctly?
Dr. Debra Blaine: Correctly.
John: Okay. And you're actually the only one I've ever interviewed that has written a novel or six. And I had one poet once that wrote a book of poetry. I don't know if that that doesn't quite count. I don't think so. Anyway, let's get into what's new with you. Fill us in since you know what's been going on since we talked. Oh, it's been about almost two years ago.
Dr. Debra Blaine: Great. It's interesting. You said I decided. I was writing as kind of a side gig. Sometimes life comes along and kicks you in the butt and says, okay, you're really miserable practicing medicine and you're not going to do this anymore, even though you think that maybe you should or whatever reason. I got Covid about 18 months ago and it completely changed my life. I'm a very special person. I'm one of the seven percent who got long Covid. And I still even now, I cannot focus for 12 hours straight. I don't have the stamina to go from room to room, to room, to room and spend every moment of those 12 hours concentrating or treating patients thinking I need to take breaks. And what they told me was when I asked them and I said, "Listen, I'll come back to work, but I'm going to need to take a 10 minute break every three or four hours." And they actually wrote it in a text. "Unfortunately, there are no breaks in urgent care."
And so that being said, I resigned. I was on disability for six months and then that ran out. And then life kicked in and kicked me in the butt and said, okay, you have the side gig. And I think that even if that hadn't happened, I feel like a lot of my life and a lot of perhaps other people's lives is constantly redefining where we're going. It's like if we're headed in one direction, sometimes it's not quite due north. Maybe it's northeast a little bit. Or maybe I need to take a detour over here. It's kind of a zigzag finding my way. It has been for me to find my way into what I really enjoy doing and to be able to throw myself into it.
I started writing in 2017, a few words scribbled on a couple of pages. I published that book in 2019. And since then, I've put out six more books. And this summer I put out two books. One of them is really short. The self-publishing book is pretty short. And I'm working on I'm working on two books now. And one of them is also a nonfiction, it's going to be a guide. And I'm going to come up with a better name for it, but a guide to fiction writers, the elements of fiction. What do you need to put in? How do you how do you determine a story arc? How do you develop characters so that it's more of a how to without having to get a master's degree in writing. Just in a short little book bum, bum, bum. These are the things to put in. This is why. And these are tips. I'm going to hopefully have that out in a couple of weeks.
John: But I have a question since you mentioned writing two books. The most writers, this is how I would think of it, would I would keep I would try and work on one till it was pretty much done and then go to the next as opposed to going to write two or three or four all simultaneously. I assume different authors, writers just do it differently.
Dr. Debra Blaine: Yeah. I thought I was absolutely out of my mind. But to me, they're different sides of the brain. Writing a guide about how to write fiction is kind of like writing a term paper, but making it interesting and fun. Whereas the trilogy I just started is a complete my right side of the brain. And it's a whole different kind of thinking. So they don't really clash. But the one of our colleagues who said she kindly said she would take a look at it when it's finished to tell me if I forgot anything. She said she's working on two books right now. And so she would get to a couple of weeks. I said, oh, I'm not the only one.
John: Yeah.
Dr. Debra Blaine: So I guess not. But yes, I think common sense. And certainly if you're a beginning writer, I would focus on one.
John: Yeah, that makes sense. I can imagine, though, the great writers that we all have our favorites. I could imagine if that was their full time occupation and they were really putting 40, 50 hours a week in it, that they might have three or four things going on at once, because I know there's certain times of the day, certain days of the week. And just the way your mind works, sometimes it's more focused on certain things than other things.
Dr. Debra Blaine: And some of them have ghostwriters for them, too.
John: Well, I got some questions for you today. We'll just kind of go wherever you want to go, but tell us about the self-publishing book. Why did you write it? And then you can tell us, some of the advantages to self-publishing while you're talking about that.
Dr. Debra Blaine: Okay. Just as a caveat to that, I'm going to say or a segue into that is that I think I've spent as much time studying, learning, going to webinars, reading about the authorship process, including publishing, as I did in basic sciences. And so, I learned to self-publish. And when I did that, everything changed for me. I could put books out so much faster. I could do it on my timeline. And I wanted to share that. I wanted other people to know that there's other options. If you want to go the traditional publishing road, you have to query an agent and the agent has to find a publisher. And the process can take forever and literally because you may not ever find someone. Agents, I think they get like 200 queries a week and they have to go through. And most of the time, traditional publishers will not entertain your submission without it coming through an agent. And then there's hybrid publishers, but I wanted to be able to offer people how do you do it yourself because you can use a hybrid, which is a whole other thing.
Hybrids are pretty pricey. They go anywhere from like $5,000 to $7,000 to $15,000 to $17,000. I know one of our colleagues spent $17,000 on a done for you that was not really done for you. And I was like, wow, I did all that for a client and I didn't charge nearly that much. And I couldn't. I wouldn't ever do that like in in good conscience. I couldn't do that. But just to be able to show people that it's not hard.
I'm a technology challenged individual. If it's a software, I'm leaving. Until a couple of years ago, I didn't think I could handle anything like that. But when I spoke to, actually, it's the same person who's going to look at my book coming up and tell me if I'm missing anything. And she's published like twenty five books now. She's a successful author. I only knew her from the women physician writers group and Facebook group. But I remember I messaged her that I was thinking about using this self-publishing company and she messaged me back immediately "Stay away from this company." I was like, whoa. And then we got on the phone a few days later and she spent 45 minutes with me just telling me, "Okay, this is what you do. You do this, this, this and this. You know all the parts that go in the book because you already published two books with the hybrid. And I recommend that you set up accounts with each distributor."
It's a pain in the butt, but for her it was worth it because of the control she had and the visibility that she had and the ability to get paid quickly with royalties. I ended up doing that. That first book that I self-published was Beyond the Pillars of Salt. And from the time that I finished my final draft, which is when I would have sent it back to the hybrid because they were willing to publish another one for some another exorbitant fee. I think it would have been $9,000. From that day to the starting from there. I sent it to an editor. I got a cover designer. I got my ISBNs. I filled in everything I needed to do. I set up the accounts to the time that it was released and available everywhere around the world was 67 days.
The first two books, first they said six months and it came out in eight months. The second one, they told me six months. It came out in 11 months. And then for this third book, I was like, "Well, how much can you promise me? Because I want to wait a year with this." And they said, "Well, we can promise to a year", which could be 18 months. And so, that's when I said, okay, I'm going to try this. And I kind of very gingerly stepped into it.
And you can't tell that it's self-published. It's printed. The people who print it are the same people who print the traditionally published books. And as long as you have the software that I use, I use Vellum software, and it gives you all this. It creates the beginning of your copyright page. It creates your table of contents. It offers you a dedication page and an acknowledgement page and all the things that you want to put in. And now it's come up with things where if you add back matter, we can talk about back matter in a bit. It'll save that and add it to all your other books. If you want to say here's how to get in touch with me, you don't have to put it in every single time.
And the price, you can't beat the price because you pay once. First of all, you don't even pay right away. This was what helped me because they said I can download the software. I can play with it. I can put my stuff in. If it looks like I like it and I want to generate a book, then I pay them. I can hold on to it for six months and never use it. Whereas there's another one called Vellum is only good for a MacBook, Apple. But there's another one, Atticus, which is very popular, which is you can use on either PC or a Mac. They make you pay up front, but you have a 30 day where you can return it. I would guess, and I don't know this for sure, but I would guess that if you use it to generate books, you can no longer return it. But with either of these, you get unlimited books, eBooks or print books. When I generate files, I have separate files for Kindle, Nook, a generic EPUB, Apple Books, and a print. And it breaks it down for me. So when I go to upload those books, I just choose the correct file and there it goes.
John: All right. So let me ask a question here because I'm thinking some of our listeners are like me, like total novices. And what I know a little bit about is, there's a lot put out there about how to make money on the internet, writing books and that. But the whole gist I got from that was that if you put something together and it's done well, and it's helpful to people and you put it out there, someone's going to buy it. And if you can cut out the middleman, you can make more money selling it. But it never occurred to me, if you have this software, whatever it might be, Vellum, you mentioned, once you're using the software, you can write the book in Vellum, right? Isn't that how that works?
Dr. Debra Blaine: You can.
John: Do you do it like in Word or something else?
Dr. Debra Blaine: I do it in Word and then I upload the file. You can do it in Vellum. It's a different screen and I like the features that I have in Word better.
John: Okay. But it converts that easily, right?
Dr. Debra Blaine: Oh, yeah. It's got to be a DocX file.
John: Yeah.
Dr. Debra Blaine: Or a Word file or a Scrivener file.
John: But I'd never thought about that. Well, once you've done that, as you said, I never thought that, "Wow, if I write another book and then load that, everything else is already in there from the first book."
Dr. Debra Blaine: Yeah. You have to set it up for that.
John: Yeah. Awesome. Well, that's cool. Anyway, go on. Let's see, where were we? We're talking about, you learned all this and you've been using it. What are the other advantages besides the time component and the fact that it's really not that costly, but the other advantages to self-publishing?
Dr. Debra Blaine: Okay. I want to just add on, did you ask me why I started doing it? One of the things that I do for clients, for authors, is I help them self-publish their own book, which is often about their side gig. Because when you have a side gig, if you have either an eBook up on your website or a book on Amazon, and by the way, it can be available anywhere. You can have it go through IngramSpark and be distributed wherever you want. It's an unconscious assumption. If they have a book, they must know what they're talking about.
John: Right. That's right.
Dr. Debra Blaine: I had encouraged a lot of people and worked with people to write a book about their side gig and I hadn't done one myself and I thought, "Well, that's really stupid." That's why I started that. But the advantages are, there's two major advantages. One is the control that you have in terms of your timeline and the fact that you own your book. And the other big one is the money, the royalties.
When I took my books back from the hybrid and put them up myself, my royalties increased four times. And not only that, but when someone else is publishing your book it takes six months for them to tell you, "Okay, this is what you earned." Your earnings are a pittance and you don't see what's happening in between unless you bug them and ask them. And if they're in a good mood, they might tell you.
But when you self-publish, with Ingram, it's still the same. You can see what's happening, but you don't get paid for six months. But for example, on Amazon or Kobo or Apple or Barnes & Noble, you see day by day, how many people are buying your book and you get paid every 30 days. I think Barnes & Noble won't pay you unless you've got at least $10 in royalties, but hopefully you will. And they'll pay you direct deposit to your account. You set up your own accounts. Nobody else is putting their fingers in the middle. And it takes that whole part of when you're wanting to write a book and then you finish the book and you think, oh, great. And it's like, oh, I got to publish it now. That means you got to write a query letter and you got to find an agent and every agent wants a different kind of query letter.
So you can't just make one letter and send it to a bunch of people. You have to tailor it to each person. It just takes so much of that stress out of it. And then you have the control. If a traditional publisher picks up your book, they'll pay for everything, but they'll also tell you you're using this cover. We don't like your title. We're using this title. And you know what? This chapter doesn't fit. We want to get rid of it. We want you to write a chapter like that.
One of our colleagues has done well in terms of getting her books published. I think on the third book, she's with a traditional publisher. She wanted to write about a male main character, a male hero, instead of a female. And they said, no, we won't publish that because we have you in the female lead and we don't need you as a male lead. So you lose a lot and you don't own your book. And this way I own my books.
John: Okay. Now I was going to ask you to go over at the high level, the process of writing a book, but we might as well stop right here and just tell us about your book about self-publishing because bottom line is they're not going to remember everything that we talk about today, unless you're really taking great notes. And what they need to do is just get your book on self-publishing. So why don't you give us that information right now?
Dr. Debra Blaine: Okay. What I have in the book, actually I didn't want to miss anything. I wrote it somewhere so that I could take a look. I talk about the different kinds of publishing. I talk about how to get an editor. I'm an editor too, by the way. I learned to do that. How to get a cover design, what you want from your cover design. People do judge a book by their covers and how to figure out what's going to be effective because there are strategies to this.
See, I didn't know any of this before. The hybrid completely got the cover wrong for one of my books, Undo Influences. And I was told by someone that it looked like a psychology self-help book and it's a political thriller.
John: Yeah. I think the original has a picture of a brain on the front.
Dr. Debra Blaine: It does. You changed it.
John: You changed that. You got rid of that.
Dr. Debra Blaine: I got rid of that. I got rid of it. And now it looks like a thriller. And the sales went up and my royalties went up because for every sale, my royalties went up. I talk about how to format, setting up accounts, metadata and back matter. Once you have a couple of books, you may want to put in the back of the book, "Hey, see my other book? If you liked this book, go to this book, join my newsletter." I talk about how to do that and where to do that, because there are certain places where it's like the classic book, you think of once upon a time and then the end. The moment you write the end, Amazon, for example, if you're on a Kindle, we'll stop showing you the rest. You can go to it, but it'll immediately flip you to something else to buy because the book is over. So how do you get your messages, your links in before the end? Well, for one thing, you need to write the end and you don't end the chapter. When you finish the story, you put an ornamental break in there. And then if you like this, Amazon thinks it's still part of the algorithm, thinks it's still part of the meat of the book. Your reader will know that it's not part of the reader. If you wrote a good ending.
So, there's so many things that I've learned about, and I try to put a little bit of everything into that book I just published. I didn't want to put everything in, all the detail. Because it is overwhelming and I don't want to overwhelm anyone. That book is really for people who have written what they want to write and they're ready to publish and they know a little bit about it. They know my book needs, I want to put a dedication in it. I want to put an acknowledgement in it. I want the different things that they want to add about the author. They want to know where can I put a link to something else? Where do I put my other books? And that's what the purpose of that book and how to format and how to use software.
I also talk a little bit about how to write metadata. Metadata is your book description. I think it's official that human beings have the attention span of a goldfish. Have more attention than we do. We're just bombarded with so much information and people scan, but to get them to stop and read, you have about three seconds or less. You got to hit them with a hook, something that immediately makes them say, "Oh, I want to read about that." And so, you want to target that hook to the people who would be interested in your book. You don't want to hook someone who wants a great cooking recipe and then talk about a cozy mystery. You want to be appropriate.
I talk a little bit about writing metadata, the keywords, where you find your keywords. I didn't know anything about keywords and categories. And when I was getting it published by the hybrid, and certainly if a trad publisher, did they choose all that for you? Sometimes they're not working so well.
When you do it yourself, you can go right back in and change your keywords. You can change your categories and you can test it and say, "Okay, let's see if that works better." And I talk about how to calculate royalties. Just down to the nitty gritty, down to the penny. How do you calculate the royalties? What happens when you have so many fingers in the pie and where the money goes? Or in the case of Ingram, sometimes we don't really know where the money goes. It just disappears. And some of the common mistakes that authors make.
And then I have a checklist at the end for do it yourself. Bum, bum, bum, you're going to do this, this, this. While your book's being edited, you're going to get your cover designer. You're going to set up your account. I try to put it in a really simple format.
John: Nice. It sounds pretty comprehensive, but not overwhelming. Now you mentioned that you help others do this personally. And I think you have training as a coach.
Dr. Debra Blaine: I'm certified as a coach and a master trainer coach as well.
John: Oh yeah, that's right. I forgot about that. You have all the skills already to facilitate people on whatever it is they're doing whether it's life skills or writing a book. So what is the typical person come to you for now in terms of helping them? Is it the software? Is it more of the creative process, all the above?
Dr. Debra Blaine: I have more clients for the creative process, which is why I'm going to release another self-help book. My books are called the "Writer Stuff. And this is going to be the second one. And it's going to be just outlining what is the story arc and why is it important? How do you create dialogue that doesn't sound like he said, she said? How do you develop your characters so that they're believable and they're deep in there and people can get emotionally connected with them?
Characters drive your story always, and you have to care about your character. There's a book that was written called Save The Cat. I'm just going to work from the title because I'm not working from the whole book, but the idea that if you have a villain who you start the book, because you always want to start your book with something that draws the reader in. If the reader is not interested in the first two pages goldfish mentality, they're going to look inside, they're going to be like, "Yeah, I'll look for another book."
So you had to draw the reader in. So you got this guy, he's running because he just killed three people and he's slashed another one and he's running away. And then the police are after him. And as he goes into an alley, he hears a cat stuck on a fire escape and he stops and he brings the cat and he gets the cat to the ground and then runs off. Now, the police are even closer to him. So now it's like, okay, this is some evil dude. He's a murderer, but wait, he saved that little cat. So that idea, to make people care about this guy who's not just a murderer. We don't know why he murdered them yet, but we do know that there's something in him that's a good person.
That kind of stuff that gets a reader just interested enough to keep reading and want to keep reading. People when they read novels, they want to feel emotions. If they're reading a textbook, they want information. If they're reading a novel, they want to feel things. And especially in our day and age when there's not a lot of time spent on our feelings. I think when people read, they get into that. There's been studies shown that people who read fiction have a much reduced incidence of dementia later on.
John: Oh, really?
Dr. Debra Blaine: Not nonfiction, fiction. And I'm thinking it's because there's so many subplots that they're following along and it's a different part of the brain.
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