Are you an author planning to self publish? Does some self publishing jargon confuse you? Does it feel like other indie authors know things you don't? For example:

• What is an ARC?
• What does going “wide” mean?
• How is a hybrid author different from an indie author? 

This blog answers these questions, and more. Here are 10 self-publishing terms all indie authors need to know. 

1. ARC

The acronym ARC stands for advanced reader copy. This is exactly what its name implies: a copy of a book that is sent out to selected readers before publication. Often ARCs are sent as part of a blog tour (see below) in anticipation of early publicity and/or reviews. Some authors also have, or intentionally form, an ARC team. An ARC team is a group of dedicated readers (often from an author's email list) who act as regular beta readers (see below) to catch any glaring issues within the book before publication.

2. Beta readers

Beta readers are usually unbiased readers who read books before they are published. Betas return feedback regarding any problems they may encounter, such as typos, glaring plot holes, etc., in much the same way as an ARC team. However, betas may read much earlier/rougher drafts than ARC readers, or read books as part of a one-off, informal arrangement. As betas usually aren't as invested in the author, their feedback can be brutally honest, which some authors may prefer.
Impartial beta readers can be found using dedicated Facebook groups or the hashtag #betareaderswanted on Twitter. Some beta readers read books for free, or in exchange for their own books being read. Other beta readers may charge a fee for their time and feedback. 

3. Blog tour 

A blog tour is when an author arranges a collection of book bloggers to read their book and then feature it in their blogs. It is important to ensure a good match between the book bloggers and the book's particular genre to minimize any potential problems (and possibly negative reviews). Blog tour organizers, already connected to a network of book bloggers, act as middlemen (or women) to arrange blog tours for authors. That service can take a lot of the stress out of the whole process. Sarah Hardy at Book on the Bright Side is a blog tour organizer, as are Rachel at Rachel's Random Resources and Emma at Damp Pebbles Blog Tours. 

4. Blurb 

The blurb is the sales copy or book description on the back cover of a book. This works in conjunction with the front cover to entice the reader to buy (or borrow) the book, so it’s important to get it right! Bryan Cohen is a blurb magician and his webinar “How to Write Better Book Descriptions to Sell More Books,” in conjunction with Reedsy, is a really helpful resource for perfecting blurbs. 

5. Hybrid 

A hybrid author is an author who chooses to self-publish their books as well as write while tied into a traditional publishing deal. Some authors have been traditionally published, then decide to cross over to self-publishing (often to retain full rights to their books, as well as enjoy a much higher percentage of the royalties). Other indie authors become so successful in their own right they are approached by publishers directly. Examples of hybrid authors include Sarah Painter (The Worried Writer), Libby Hawker, Mark Edwards, and Chris Simms. 

6. KDP 

Next in 10 self-publishing terms all indie authors need to know, is another acronym: KDP. This stands for Kindle Direct Publishing which is Amazon's book publishing platform. Authors can choose to publish exclusively through Amazon or go wide (see below). 

7. KU 

KU stands for Kindle Unlimited which is Amazon's book and audiobook subscription service. Indie authors choosing to make their book available exclusively through KDP Select allow subscribed readers to borrow the book. Indie authors then earn money through the number of total pages their readers read (minus Amazon's commission). 

8. POD 

POD stands for print on demand. Once an indie author has uploaded their formatted print book file onto KDP or any POD service, however many books are ordered is exactly how many will be printed. The benefit of this is that stocks of printed books don't need to be stored anywhere. Even if you are exclusive to KDP Select for your e-books, you can still sell your print books wide (see below). ​

9. Synopsis 

Not to be confused with a blurb, a synopsis is a summary of everything that happens in a book without any descriptive embellishment. Traditional publishers often require a synopsis, along with the first three chapters or 50 pages of a novel, when an author submits their manuscript to be considered for a traditional publishing deal. However, indie authors may find writing a synopsis helps clarify the storyline either before or during penning their book. Another of Reedsy's recent webinars “How to Structure a Novel Before You Write it” advocates this. ​

10. Wide 

Going “wide” means making your digital and/or print book available for purchase from a range of online stores, not just Amazon. Some authors prefer going wide as it means they need not rely on Amazon for all their book sales. Again, it is the indie author's choice. Indie author Joanna Penn outlines the pros and cons of this choice on her “Exclusivity vs Publishing Wide” podcast episode. 
​
If you have found these 10 self-publishing terms all indie authors need to know useful, check out my related blogs at https://penningandplanning.com/blog/.

Available on Kindle Unlimited 
https://www.amazon.com/dp/B01E0V73T0 ​

The passage beneath was blocked and sealed with iron. The sisters did not discuss all they had lost. No one ever asked them if they had even wanted to be rescued.

This is the story after the faerie tale.

Bide here. Lirón comes.

“Did you hear that?” they whispered among themselves and agreed that, yes, each of them heard that, but not with their ears.

They all looked at the hippogriff, but only Aurora met its gaze. It despises us, she thought with surprise. A beast that despises us.

I find most humans contemptible as well as bad-tasting.

Her lips turned upward slightly at the corners. Touché, she thought, and caught the faintest glimmer of humor from the hippogriff.

“When will Lirón arrive?” she asked aloud, more as a courtesy to the others than for the hippogriff’s sake.

The animal cocked its head, opened and shut its beak with a click, and then sneezed. It shook its head, sending a feather into the breeze, which twirled it in unseen fingers for the princess to catch. She held it to her lips and surreptitiously sniffed. The scent wasn’t sour like poultry, but fresh, clean, and somehow wild.

Toss it into the wind should you have need of me, beloved of Lirón.

“Thank you,” she whispered.

The hippogriff bowed its head, turned tail, galloped a few steps, and leaped into the wind.

In his blog last week, author Scott Gilmore spoke to the avoidance of the "Mary Sue" characters, particularly as relating to female protagonists. I don't disagree with him at all: the main character of a book should struggle, and grow or evolve in the process, to overcome the obstacles blocking her from that happily ever after. Otherwise, what's the point? Readers can't identify with perfection.

This leads to the cliche of the strong female character. And, yes, it's become a cliche--a trope--in several genres. A quick Google search brings up several articles addressing this, such as:

• ​"Strong Female Character Cliches to Avoid (In Writing and Beyond)" by Hanna Bauman
• "Write Strong Female Characters Without Being Cliché" by Writer's Relief
• "It's Time to End the Cliche of the "Strong Female Character," and Just Write Women" by Elisabeth Sherman.
  

The stereotype of the strong female character has been addressed before and by many, but it persists even as literature offers slight adjustments. One of the more recent variations on the cliche is the female protagonist who's too stupid/stubborn to live. Pigheadedness has become conflated with strength, something to celebrate rather than regard as a fault. I call it terminal stubbornness.

That trait makes my teeth itch.

The female main characters I write oftentimes exhibit excessive stubbornness, but to such an extent that it ought to get them killed. Instead, they suffer the consequences which forces them to evolve and adjust, just like real people do.

In Triple Burn, Ursula quickly learns how and when to pick her fights. Some reader responses indicate that they think she capitulates too soon and too easily. But consider the overwhelming circumstance: she is physically altered. Adapting to those circumstances makes her smart, not weak. (If my very DNA and flesh were altered, you can bet I'd resent what happened, but I'd also adapt, because the alternative is permanent.) Excessive stubbornness wouldn't have endeared her to me and would have condemned her to a harsh doom on a planet she was not equipped to survive.

In The Barbary Lion, Chloe retreats into herself, becoming compliant to her captor's will until the moment arrives at which time she takes full advantage of it and flees for freedom. She adapts, using the supernatural skills learned from her captor to evade him and the hunter he sends after her for two decades. Of course, this is a romance and reconciliation must occur, so she negotiates impressive concessions from Atlas Leonidus, a character whose defining trait is his utter refusal to break his word.

The ability to recognize futility and adapt is a strength rather than a weakness. It's a skill we must all accomplish to some degree, or we don't survive very long in a society and world determined to crush us.

In avoiding the Mary Sue protagonist as well as one who's too stupid or stubborn to live, the author must imbue the character with at least one fatal flaw and perhaps several more minor flaws. (This goes for heroes as well as heroines.) In Hogtied, Melanie's has two major flaws that feed on each other: she's hot-tempered and impulsive. She's also determined to make her way in the world and, when circumstances become more than she handle, she seeks help like any rational person would do. In short, her flaws don't annihilate her intelligence--they just blunt it occasionally. After all, that's human, too.

A main character exhibiting the spectrum of virtues and vices that make him or her human--even if the character isn't human--becomes relatable to the reader. The Mary Sue character has either no flaws or her flaws are so minor that they don't matter. Those tiny flaws seem to enhance rather than obstruct. Gilmore noted the current trend in fiction preferences for Mary Sue heroines. Perhaps that's because, in these days of an ill-managed pandemic and civil unrest, we need something perfect to inspire or comfort us.

I don't know the answer. I do know that I don't like Mary Sue protagonists or the strong female character cliche.