Indie publishing

  • Writers who start later in life

    Writers who start later in life
    Writers who start later in life

    Writers who start later in life

    Is it ever too late to start writing? With some careers, youth is the best time to start – with more athletic careers, including ballet dancing, it’s pretty much a requirement. Some sports and forms of dance can be taken up later. And so can drawing, painting, music, and writing – even if you never mean to pursue them as a career. But what if you do want to be a professional writer? What happens with writers who start later in life?

    While the publishing industry often seems more interested in younger and more photogenic writers, the truth is there are plenty of older writers too. Of course, they may have started out at a younger age. The average book buyer is older and if representation really matters in publishing, then it ought to apply to older readers finding characters like themselves in books too.

    Of course, this is not to say that older readers always want to read about older characters.

    Just starting out? But are you really just starting?

    One thing I’ve noticed about many, many older writers who are starting out is that they say they’ve been writing since childhood. Or they started young and somehow life got in the way.

    For women, who may have childrearing and carer duties on top of other demands, it can be especially difficult to make the time to continue writing. Indeed, some women writers feel guilty about the time they take away from parenting or domestic duties to spend time writing.

    This can lead to gaps in writing experience. A passion that started early can often be sidelined to make way for more serious responsibilities. Plans to get started on writing again can get delayed indefinitely. Or they can be put off until the children grow up or retirement comes.

    But that then leaves some writers looking around at the youth of so many writers on social media, thinking maybe it’s too late. Maybe I’ve missed my chance. Maybe no one will be interested in what I have to write. Maybe it’s too late to make my mark.

    There is also the issue of not having a long career if you start too late.

    Self-publishing versus traditional publishing

    The reality is that it’s not too late and I will list some examples of different writers further down. Sometimes a writer has published earlier in life and then left a long gap before they return to writing. Sometimes a writer’s earlier books didn’t take off so well and the real masterpiece comes much later.

    Joan Lindsay was 71 when she wrote her masterpiece, Picnic at Hanging Rock. And she wrote it fast, after a series of dreams.

    While Lindsay was dealing with the mainstream or traditional publishing industry, self-publishing is the new game in town. Though by this point – 2025 – it’s far from new. Many working in indie publishing have long established careers by now.

    In indie publishing it really doesn’t matter how old you are, or what you look like, or what your background is. You don’t have the publishing industry acting as a gatekeeper.

    Working with older writers

    As a developmental editor I’ve worked with a number of older writers. Sometimes they have retired and are now dedicating their new free time to their writing dream. That writing dream has often been around for a long time.

    One writer I worked with, who must have been in her seventies, was going through old diaries from the 1960s and novelising them. She brought the world of 1960s San Francisco to life, complete with the social movements of the time, the music, and the vibrancy of her long-gone youth. Because she had her own journals, her writing was fresh and youthful.

    During the Covid period, when many people were locked down, there was a sudden flurry of writers looking for developmental feedback. I was very busy during this period. Many of the writers I worked with then were starting out, or they’d been writing as a hobby for a while and were now looking to take their writing further. This led to me offering quite a bit of coaching feedback during that period, helping those writers develop their skills further.

    Examples of writers who started late

    Lord of the Rings and The Hobbit are huge classics of the fantasy genre, right? But did you know that Tolkien was 45 when he published The Hobbit? His work is so influential that it’s impossible to imagine what fantasy would look like without his books. Tolkien was an academic, and that experience and background was hugely beneficial to his later career as a writer.

    Ian Fleming, who created the iconic James Bond, was 44 when he published the first in the Bond series, Casino Royale. Imagine he’d decided it was too late to become a writer? Not only would publishing and readers be deprived of an iconic series, but Hollywood would have suffered too. Bond triggered a number of espionage films in the 1960s. Even Austin Powers owes his existence to Ian Fleming’s Bond.

    Bram Stoker was 43 when he published The Snake’s Path, and 50 when he published the iconic Dracula, which changed the vampire genre forever.

    Or how about Watership Down, published when Richard Adams was 53?

    Then there’s The Wind in the Willows – published when Kenneth Grahame was 49.

    Meanwhile Daniel Defoe was 59 when Robinson Crusoe was published.

    Here are some more writers and the ages they were when they started:

    Author of the Jack Reacher novels – Lee Child (44)

    Tropic of Cancer author – Henry Miller (44)

    Raymond Chandler (51)

    Black Beauty author – Anna Sewell (57)

    Writer of The Shipping News, Brokeback Mountain, and more – Annie Proulx (57)

    Mary Wesley (57 for her children’s fiction, and 71 when she published her first adult novel)

    Author of Little House on the Prairie – Laura Ingalls Wilder (65)

    Angela’s Ashes author – Frank McCourt (66)

    What about even older?!

    Here is an article about a woman whose first novel, a thriller, was published when she was 93. She had actually written the book three years before and her daughter-in-law found it and convinced her to get it published.

    Dorothea Tanning also published her first novel, Chasm: A Weekend, when she was 93.

    Here’s Babette Hughes who published her first novel at 91, and had her seventh novel published at age 101. She did have a memoir published earlier, but her prolific nineties is quite shocking!

    Are you a writer starting late in life?

    If you’re an older writer and you’re looking for feedback on your novel or memoir, feel free to contact me about your manuscript. I have different feedback options, ranging from alpha reads (giving you feedback on an earlier draft), to manuscript critiques (with different price tiers), and full developmental edits. I also offer outline critiques and opening chapters developmental editing packages.

    If you want to check to see if we’re a good fit, I offer a free sample edit. I work in adult fiction – science fiction, fantasy, horror, historical, literary, thriller and romance. I have also worked with memoir. I have no experience with children’s fiction.

    You can email me at: karen@indiecateditorial.com

    Here is my services main page. You can click on most of the buttons and you’ll be taken to the page for each service.

    Other useful blog posts

    You can check out my master list of IndieCat blog posts to see the main list of articles on this site.

    Wondering what the difference is between a manuscript critique and a developmental edit? Go to this post for more information: Developmental edit or manuscript critique?

    If you want to receive my IndieCat Editorial newsletters, you can sign up to my Substack newsletter below. I send out content once a week or less. You will receive new posts, news about writing competitions I’ve heard about, and other content.

  • Recent edits and current availability

    Recent developmental edits and current availability.
    Recent developmental edits and current availability

    I’ve recently been too busy with editing to get the next blog posts written. So I thought I’d write something shorter instead on the genres I’ve recently edited.

    Right now I’m working on a developmental analysis of a memoir.

    While I usually work on fiction, I have worked on memoir (often called creative non-fiction) before. These manuscripts can vary in terms of topic and style, but one of the most memorable I ever worked on transported me back to the 1960s counter culture and underground of Seattle and San Francisco/Berkeley.

    For the weeks I worked on the memoir, I felt like I walked the streets with the author and her young friends. Because the writer also included musical references, I will never hear Dionne Warwick’s Say A Little Prayer without thinking of those long ago summer days.

    Memoirs can be some of the most memorable manuscripts precisely because they are based in reality and personal experience.

    Some memoirs deal with darker topics, where the writer is working out their past and bringing attention to serious issues.

    As for fiction, so far this year I’ve worked on:

    • Three science fiction novels
    • Historical novels – in three different centuries
    • A WWII espionage novel
    • A stand-alone romantic novel from a writer I’ve worked with before (on a trilogy)
    • A literary novel set a few decades ago
    • A thriller

    Most of these projects have been either full developmental edits or manuscript critiques. One was an opening chapters developmental edit, and another was an analysis of an extensive novel outline.

    Novels I’ve worked on in the months prior to these included:

    • A cosy mystery
    • Another historical novel
    • And a thriller

    Sometimes I’ve worked on two rounds of developmental editing for the same manuscript. Some clients like three rounds. These are always indie authors who want to ensure their manuscript issues have been ironed out. Sometimes with the developmental editing clients, the final round is a report only. Basically a final check.

    Because I often work on multiple rounds – if that’s what the client wants – I try and keep my prices within an affordable range. Payments can be spread over two rounds.

    My next booking (as of 15th September 2023) is for November. I also have a client who has indicated they will likely contact me at some point about a second book they’re working on.

    This means that currently I am free from October to the end of the first week in November.

    This timescale allows for

    • a full developmental edit, or
    • up to two manuscript critiques

    Opening chapters developmental edits cover the first 15,000 words (or 10K, etc) and don’t take as long. Those projects can be slotted in sooner.

    So if you want detailed developmental feedback on a manuscript (memoir or fiction), feel free to contact me at karen@indiecateditorial.com. We can discuss your project and your intentions (self-publishing or submitting to an agent). If we seem like a good fit I can offer you a range of editing and pricing options.

    Please note that I specialise in developmental editing and do not offer copyediting or proofreading services. I do give some line editing advice, but only as part of a developmental edit.

    Feel free to check out my services page below.

    Editing services page

    Otherwise, you can check out some of my recent blog posts:

    Narrative devices in Ted Chiang’s Story of Your Life

    How editorial feedback changed Interview with the Vampire

    How editorial feedback improved The Great Gatsby

    When publishers drop the ball

    Developmental self-editing checklist

  • Have you figured out your author brand?

    Have you figured out your author brand?
    Have you figured out your author brand?

    Have you figured out your author brand?

    Self-publishing indie authors are in a unique position to control their author branding. With no publishing house breathing down your neck, you get to choose pretty much everything. Your book title, the cover, any editors you choose to work with, and your website design.

    This freedom can come at a price: the huge overwhelm of so many options and even an inability to see how these different elements – title, cover art, website design, and more – need to be tied together into an integrated author brand. One that, over time, will become identifiable to readers and potential readers.

    Author branding includes a number of components:

    • Genre, including subgenre
    • Cover art (which should match genre)
    • Book titles can also fit in with genre and brand
    • Your website, social media banners, and marketing
    • Branding colours – which can also tie to book cover art
    • Fonts
    • Voice and tone of your language – romantic comedy will have a very different tone and voice from gothic horror
    • Vocabulary – for example, for children’s books your vocabulary will be simpler

    It’s important for these elements to be consistent across the board. That’s how you establish a distinctive author brand.

    Let’s dig deeper into these different components to see how they work.

    Genre and subgenre

    If you work in a single genre or subgenre, you have the advantage of a consistent marketing category. If, for example, you write cosy mysteries, then your author brand should reflect this.

    You should check out the competition in your own category, especially the most successful authors, to see what is commonplace. This includes the kinds of book titles people use.

    While you don’t want to copy someone else’s title, by looking across the genre you can get a feel of what works best.

    Cover art and titles

    Your cover art and book title should work within your genre.

    It obviously wouldn’t make sense for a cosy mystery book to have a dark, blood-splattered cover.

    Likewise, the book’s title can be important when it comes to conveying the genre and tone of the book. Title and cover art should work together, giving each other context.

    For example, if you had a novel called Death Comes to Oxford, the image will contextualise the genre. Is it a lighter cover? It might be seen as a cosy mystery. If it’s darker, with more violent imagery, it will look like a completely different type of book. Even the font will influence a reader’s perception about genre.

    How does your title interact with your cover art? Some titles will fit more than one genre and the cover art gives the clue to the genre.

    Cover art is very important in drawing a potential reader’s attention. It is the first thing they see. The human brain processes visual imagery much faster than text. But the cover art must fit into the author branding – this includes the genre.

    Your website and social media banners

    Ensure that you use consistent colours and tones and images across your website and social media banners. You could develop a set of brand colours associated with the colours you use in a book cover. Or the dominant colours you use in your cover series.

    One thing you can do is run an image through an online program to extract the hex code numbers for the colours. Some apps give you the basic dominant colour palette.

    Once you have your basic colour scheme for your brand, you can keep a note of the colours in your own brand guide. This guide is for your own use when you’re updating parts of your website or adding new material.

    Fonts

    Different business brands can have their own preferred fonts which they will list in their own brand guides. Are fonts so important for indie authors? Well, when it comes to your banners, website fonts, etc, it’s best not to use something radically different! You don’t want comic sans, for example!

    Fonts are also important for your book covers. They should be consistent with genre and if you have books in a series, the entire series should be using the same font. Ideally, all your books should be using the same font if you want to maintain brand consistency.

    Voice, tone, vocabulary

    The language you use in your marketing should reflect the tone of your books. If you write breezy contemporary romances, then your marketing language and the voice, tone, and vocabulary should reflect this on your website.

    A darker tone, pessimistic and depressing, isn’t going to go with a lighter-toned novel!

    Benefits of consistency in branding

    So what are the benefits of author branding and consistency in branding?

    • Over time your brand will become familiar and easily recognisable to those who’ve seen it before
    • It shows consistency and professionalism that matches mainstream publishing
    • Your brand colours and imagery, plus your taglines and titles, can immediately flag your genre or subgenre

    If you write in more than one genre, author branding might seem more intimidating. Certainly, it could be a problem if you publish different kinds of books under the same name. Especially if those genres are very different in tone – again, gothic horror versus contemporary romantic comedy.

    Some authors choose to use different names or variations on the same name to differentiate different genres. Think Ian Banks versus Ian M. Banks. If you’re only dealing with two major writing tracks, that could be your best option.

    There are writers like the late Tanith Lee who wrote across genres – science fiction, fantasy, horror – though these all have certain things in common. They are fantastical, and her lush prose was there regardless of genre. That was part of her author brand. Fans didn’t expect her to write in a completely different style for each genre. Her distinctive voice WAS a major part of her author brand.

    So, have you figured out your author brand yet?

    Indie authors are already up against a lot of snobbery in the publishing sector. That’s why, where possible, it’s better to produce polished books with good covers and a good marketing strategy. This benefits the reputation of indie publishing.

    But it’s hard to stand out in a crowded marketplace. Readers are inundated with choice. When you think strategically about branding and marketing, you give yourself a better chance at standing out. You become recognisable.

    It’s important to remember that single exposure to your marketing will not usually net a new reader. It takes many points of contact usually to convert someone to your product or service. However, an integrated author brand will already help you stand out from the crowd.

    So, have you figured out your author brand yet? If you haven’t, it’s time to give it some thought.

    Ready for a manuscript critique?

    If you need feedback on your novel, I have openings. As well as manuscript critiques, I can do full developmental edits. On a budget? You can opt for an opening chapters developmental edit which is full of useful advice you can apply to other parts of your manuscript.

    You can check my services page here for more details:

    Developmental Fiction Editing Services – IndieCat Editorial

    Related posts

    Why your book cover design matters – IndieCat Editorial

    How to use Facebook and Instagram ads – IndieCat Editorial

  • Promoting your books on social media?

    Promoting your books on social media?
    Promoting your books on social media?

    In a previous post, I wrote about the best way to use Facebook and Instagram ads to promote your books on social media.

    How to use Facebook and Instagram ads – IndieCat Editorial

    Normally, in the world of marketing and advertising, these ads are part of a wider sales funnel. They are not usually sending traffic directly over to a sales page because potential buyers don’t know who you are yet.

    When I was studying the Facebook and Instagram ad course at Copyhackers, one thing that came up was how people these days react to ads.

    In the old days, people scrolling tended to notice ads more.

    But over time, they became acclimatised to them.

    One piece of research showed that subjects in a study didn’t even look at the ads on a page. Their brains had filtered the ads out without even looking at them.

    So, how do you get people to notice your ads? Some people adopt ad styles that are more native to the platform. For example, they might have a photo cropped in a way that’s similar to ordinary users and not a professional. It then looks less like an ad.

    Another method is to aim for pattern interruption. If a lot of ads are in colour, then black and white might stand out more. This is not in relation to book ads, just ads generally.

    Illustrations might also stand out more where photographic images are more common.

    Basically an ad which is different breaks the pattern and the viewer is more likely to notice it.

    As a Twitter user, I find myself mentally filtering out book-related ads if there are too many of them one after another.

    I’m not talking about ad posts coming from the same account. I’m talking about many authors tweeting their books into a hashtag.

    Of course, authors have to get their books to potential readers somehow! It’s perfectly understandable that they will post on Twitter.

    But for the ordinary Twitter user, or even someone interested in books, it can become a stream of image-based posts that start to merge into one another.

    This is why it’s important to have a great cover, a catchy title and tag line, and to post interesting text in your tweets where possible.

    But it’s also worth remembering that people who don’t know you are unlikely to buy your book. They are ‘cold prospects’.

    You need to build up a relationship over time. That might mean you first of all have to tweet content that will make you interesting enough to follow. This content can be about your book, book research, etc, or it can be more personal.

    Getting people to engage with you as a person is a good way to get them curious about what you write.

    It’s also not a good idea to bombard followers all day with book ad posts. At the same time, different people will be online at different times, and because of the algorithms, many won’t see your post the first time.

    This means you need to tread a careful path between extremes. Mix up content. Show you have a life beyond your books. Remember pattern interruption. Remember that the overly professional-looking ad can look too much like an ad at times and that people are now used to mentally filtering them out.

    Also, and this is very important – Facebook in particular has rules about paid advertising. It’s a good idea to check out what the current compliance rules are since they can change over time.