photo of a full bookshelf with white arched box reading "Inside Ooligan Press:". Centered white box with Ooligan fishhook logo. White text bar across bottom reading "Building a Contact List"

Inside Ooligan Press: Building a Contact List at Ooligan

Leave a comment

Most books that are published these days have some number of quotes of praise from various sources, usually other authors or major newspapers. If a reader is familiar with a genre, they’ll recognize many of the authors as being from the same genre. If not, it might leave a reader to wonder who these people are and why they are an authority qualified to review a book. It’s pretty well-known that “blurbs help attract readers to your books.” The question becomes, how do publishers choose who to contact for a blurb or review of a book? Here at Ooligan Press, The Keepers of Aris team recently got a glimpse into creating a contact list for a diverse YA fantasy novel.

The process actually begins a little earlier in the publication process, when we decide who is the ideal audience for our title. In this case, we are publishing a YA fantasy novel written by a Black woman, and our primary audience reflects that, as should the people we choose to reach out to. As we began to research and collect the names and contact information of authors we intended to reach out to for a blurb, we started with those we wanted to prioritize, Black and BIPOC fantasy authors. Bonus points if they wrote YA as well. We chose successful authors such as Tomi Adeyemi, Kalynn Bayron, and Rin Chupeco. Once we found as many as we could, we turned to other YA fantasy authors. We concluded this part of our research with a total of around seventy reputable authors as possible contacts.

The next step of building our contact list was to find major industry publications that Ooligan always reaches out to for a review. We got these contacts from Ooligan’s master contact list, so all that was needed was to ensure the information was up-to-date. Some of these sources include Publishers Weekly, Kirkus Reviews, and Shelf Awareness. We consistently reach out to them because they are major sources of book reviews that many are familiar with, and we are capable of successfully reaching them. Another internal source for contacts was the contact list of the previous fantasy novel we published, Court of Venom. Given the two titles are within the same genre, if for different age groups, the number of contacts that would be ideal for our newer title is significant enough to make the previous list an effective source. These contacts consist of digital magazines, blogs, and book reviewers that focus on fantasy titles. Currently, the team is expanding on these contacts by researching new ones.

Of course, it must be noted that Ooligan Press’s contact list practice is not like most publishing companies. The contact list for each title is created largely from scratch and personalized per the primary audience. We are also a small press, so authors or online personalities that have reached a certain level of fame are simply out of our reach. It’s important to keep our expectations realistic while working to reach as many people as possible. This is a glimpse into how publishers choose who is on a title’s contact list and ends up with their blurb on the cover.

photo of a bookshelf with arched white box with text "Inside Ooligan Press", white square centered with Ooligan fishhook logo, white text bar across bottom with words "DEI at Ooligan"

Inside Ooligan Press: DEI’s Involvement with a Book

Leave a comment

Each department at Ooligan oversees a particular area of a book’s production; Design works on the book’s cover and interior, Digital handles the ebook version, Audiobooks scripts the book and works with the narrator or narrators to produce an audiobook version, and so on and so forth. In a previous blog post, I introduced myself as the DEI Publisher’s Assistant for Ooligan Press and gave a brief overview of my position; here, I’m back to walk you through my involvement with each book as it makes its way through the publishing process.

When Ooligan is in its acquiring phase for a book, the Acquisitions managers reach out to me if any aspect of the book will require special attention and consideration from a Diversity, Equity, and Inclusion standpoint. If the press as a whole votes to acquire the manuscript, I join the developmental edit team and provide insight into issues of sensitivity and authenticity. Following the developmental edit, I join the copyediting team(s) and provide additional insight into issues of inclusive language and any other aspects of the written manuscript that need to be treated with care. I also work with the book project team and copyediting team(s) to create the manuscript’s style sheet, and I answer any questions, assist in querying the author on certain issues, and provide resources that will assist the team in making the book as equitable and inclusive as possible.

After editorial comes cover design. I work with the book project team and the Design manager to build the book’s cover design brief and provide feedback to the cover designers to make sure a cover does not portray any stereotypes or offensive images (e.g., making sure a book about immigrant stories doesn’t have barbed wire or weeds on the cover).

I then assist in creating and maintaining social media and marketing strategies to ensure no part of the book, the author’s identity, or the audience is being commodified or tokenized in the promotion of the book.

When a book is being considered for an audiobook component, I work with the Audiobooks manager in instances of underrepresented or marginalized people potentially being narrated by someone outside of that group so that DEI efforts are considered in both choosing a narrator and narrating that character’s lines.

Throughout the processes outlined above, I work closely with anyone within the press who has questions or concerns about any aspect of the manuscript, and I jump in and out of book teams when needed. Overall, our goal as a press is to publish each book with care to be as diverse, equitable, and inclusive as possible, and my position has a very heavy hand in that process. Consulting with book project teams and the different departments within Ooligan is one of my favorite aspects of this position, and I am very proud of our press’s mission to publish diverse, authentic books and the initiatives we take to make our mission a reality.

stone road leading to medieval castle in mist

Books to Get You Hyped for THE KEEPERS OF ARIS!

Leave a comment

It’s been well established by now that diversity is extremely important in reading and publishing. Having diverse voices represented in all aspects of the industry is necessary to reflect the world we live in. One genre that has historically lacked diversity but has recently been improving is YA fantasy. As we at Ooligan prepare to publish our own YA fantasy novel, The Keepers of Aris, here’s a list of Black YA fantasy novels that I recommend in no particular order.

  • A Song of Wraiths and Ruin by Roseanne A. Brown
    • The first in a fantasy duology inspired by West African folklore, this book follows a grieving crown princess and a desperate refugee who find themselves on a collision course to murder each other despite their growing attraction.
  • Witches Steeped in Gold by Ciannon Smart
    • This Jamaican-inspired fantasy debut about two enemy witches who must enter into a deadly alliance to take down a common enemy has the twisted cat-and-mouse of Killing Eve with the richly imagined fantasy world of FurybornandAn Ember in the Ashes.
  • Cinderella Is Dead by Kalynn Bayron
    • This fresh take on a classic story will make readers question the tales they’ve been told and root for girls to break down the constructs of the world around them.
  • Legacy of Orïsha series by Tomi Adeyemi
    • Zélie Adebola remembers when the soil of Orïsha hummed with magic before a ruthless king ordered all maji killed, leaving Zélie without a mother and her people without hope. Now Zélie fights to bring back magic and strike against the monarchy while struggling to control her powers—and her growing feelings for an enemy.
  • Skin of the Sea by Natasha Bowen
    • Simi prayed to the gods, once. Now she serves them as Mami Wata—a mermaid—collecting the souls of those who die at sea and blessing their journeys back home. But when a living boy is thrown overboard, Simi goes against an ancient decree and does the unthinkable—she saves his life. And punishment awaits those who dare to defy the gods.
  • Beasts of Prey by Ayana Gray
    • In this much-anticipated series opener, fate binds two Black teenagers together as they strike a dangerous alliance to hunt down the ancient creature menacing their home—and discover much more than they bargained for.
  • The Legendborn Cycle series by Tracy Deonn
    • After her mother dies in an accident, sixteen-year-old Bree Matthews wants nothing to do with her family memories or childhood home. A residential program for bright high schoolers at UNC Chapel Hill seems like the perfect escape—until Bree witnesses a magical attack her very first night on campus.
  • The Return of the Earth Mother series by Reni K. Amayo
    • A gruesome war results in the old gods’ departure from Earth. The only remnants of their existence lie in two girls. Twins, separated at birth. Goddesses who grow up believing that they are human. Daughters Of Nri explores their epic journey of self-discovery as they embark on a path back to one another.
  • The Gilded Ones by Namina Forna
    • Sixteen-year-old Deka lives in fear and anticipation of the blood ceremony that will determine whether she will become a member of her village. Already different from everyone else because of her unnatural intuition, Deka prays for red blood so she can finally feel like she belongs. But on the day of the ceremony, her blood runs gold, the color of impurity—and Deka knows she will face a consequence worse than death.

And don’t forget to check out The Keepers of Aris by Autumn Green this May 9, 2023!

stacks of books on tables in a large exhibition hall

Book Fairs vs. Festivals: What’s the Difference?

2 Comments

Book fairs and literary festivals are both important events in the publishing world, but is there a difference between these two literary exhibitions? Before learning more about publishing and becoming the rights manager at Ooligan, I had always assumed they were interchangeable. In my mind, fairs and festivals were just two different ways of saying the same thing: an event for readers, authors, publishers, and more to come together and celebrate reading. While this remains true, there are a few key distinctions between these events that are helpful to know as a reader, author, and/or publishing professional.

Book or literary festivals are geared mainly toward readers and fans of books. They can last anywhere from a single day, such as our local Portland Book Festival, to up to three weeks, such as the Edinburgh International Book Festival. These festivals usually feature author speaking events, where authors and sometimes publishing professionals give talks about books, the writing process, and more. Readers get the chance to learn more about their favorite books and authors, and ask questions. Afterward, there are usually author signings, where attendees can get personalized, signed copies of their favorite books. Sometimes, if you’re lucky, publishers will have giveaways for advance copies of their upcoming releases or other kinds of giveaways—the amount of tote bags I’ve gotten from festivals is insane! Festivals for younger audiences, such as YALLFest, also often have fun games, food trucks, and more. The main purpose of book festivals is to serve as a fun gathering for all book lovers to come together and celebrate the joy of reading.

Book fairs, while also serving as a gathering place for book lovers, tend to differ in their main purpose. While some book fairs have an option for readers to come and visit, there usually aren’t any events such as talks, signings, or giveaways. These fairs are mainly for people working in publishing to promote themselves and/or their books. Publishers from around the world set up booths with their information and upcoming titles, and meet with other publishers to buy and sell rights. Fairs such as the Frankfurt Book Fair, the largest book fair in the world, only have a few days that are open to the public to visit. The rest of the fair is spent facilitating meetings between literary agents, publishers, and editors. As Schoko Press writes, there might also be “Workshops and seminars . . . presenting topics on trends and industry news and developments.”

Book fairs are the best opportunity to meet more people in the industry, especially those in other book markets across the globe. Walking around these fairs, you’ll see industry professionals greeting old friends, pitching their books or authors, and meeting to collaborate on new projects. It’s basically a massive networking event for the publishing industry.

So, if you didn’t know, then now you know! Book festivals and fairs may seem similar, but they each serve a different and important purpose. If you’re a reader who’s looking to hear from your favorite author or get a signed copy, then you might want to stick to festivals. If you’re an author wondering about the difference, you’ll most likely be attending festivals to give talks and sign books, not the fairs. If you’re new to publishing and curious about the exchange of rights and networking in the industry, then a book fair might be the best bet! However, both provide amazing experiences for any lover of books and publishing, and if you get the chance to attend either, it will be an amazing experience you won’t forget.

If you would like to learn more about fairs and festivals or what events might be near you, here is a great article from Books Make a Difference that dives deeper into fairs and lists when and where they take place, and here is a great list of literary festivals from The Reading Lists.

photo of full bookshelf. White arched text reads "Inside Ooligan Press:" White box with Ooligan fishhook logo. Straight white bar at bottom of image with text "Editing"

Inside Ooligan Press: What Does an Editor Do?

Leave a comment

Note: This is part of the blog series “Inside Ooligan Press,” about how we take a manuscript from an idea to a professionally published book.

There are many levels of editing that help shape a manuscript into what readers ultimately pull off the shelves of their favorite bookstore or library, but how does each level of editing work to transform a manuscript from the first draft to the final, polished result?

As editors, we create and manage all editorial timelines and guide an author through the publishing process as their manuscript undergoes multiple levels of editing. In addition, an editor’s goal is to help an author strengthen their writing while also maintaining their voice and overall tone of their story. To do this, editors follow guidelines set by the client they are working with, the publishing house they work within, and style guides used across particular industries. Here at Ooligan Press, we utilize our house-made style guide and a style guide created specifically for each manuscript we publish, as well as the Chicago Manual of Style (CMOS) that is broadly used across the publishing industry. These guides encompass standard rules for the treatment of numbers, the use of commas, and the use of other punctuation, as well as citations and endnotes when applicable.

CMOS is the standard style guide used in trade book publishing, but each publishing house may also utilize an internal style guide for specific editorial decisions. For example, at Ooligan, our style guide has a specific section for inclusivity that we reference to ensure our publications are accessible to readers and use inclusive language. We also create style guides for each manuscript to address book-specific editing choices such as the spelling of unique names and phrases, often seen in fantasy or non-fiction books.

These style guides are utilized throughout the four main editing stages: developmental editing, copyediting, line editing, and proofreading. The first round of editing that a manuscript goes through is developmental editing, also called a DE. This round is undertaken by our Acquisitions Department, who work with authors to complete big picture editing. Rather than correcting spelling errors or comma splices at this stage, a DE looks at the manuscript from the top down, addressing plot holes, character development, and plot points that move the story forward.

After Acquisitions receives these big picture edits back from the author, the manuscript is handed off to our Managing Editor to guide the manuscript through more specific edits. Manuscripts we acquire generally go through two rounds of copyediting, one heavy copyedit and one light-to-medium copyedit, depending on what each manuscript needs. These rounds of edits look for spelling mistakes, errors in punctuation, and smaller, more specific story edits as needed. Story edits are marked in comments as queries to the author to point them in the right direction if there is any confusion within the manuscript. For these types of queries, our editors explain why they are bringing something to the author’s attention and provide at least two suggestions that would provide more clarity. Like during a DE, these suggestions are up to the discretion of the author and aim to maintain their voice. Alongside these suggestions and correcting punctuation and spelling, we also strive to correct grammatical errors and sentence structure, a process called line editing. Here we look at each sentence and its role within the manuscript. Awkward wording is flagged and suggestions are provided to help the author rework unclear sentences.

Following these copyedits, the manuscript is sent to the Design Department to transform the Word Document into a designed PDF that will ultimately turn into the final published book. But before this designed interior can be sent to the printers, it must undergo one last round of editing to ensure all errors are corrected. We call this round a print proofread, in which editors compare the designed interior to the most recently edited Word Document. Here we make sure that there are no missing paragraphs or sections, all punctuation and italics are correct, and no stray code made its way into the manuscript during the design process. Once the proofread is complete, the book is sent to the printers and the final book is produced. In a similar fashion to print proofreads, we also perform ebook proofreads to ensure a digital copy of the manuscript is formatted correctly and no errors were introduced during coding.

While these are the editorial steps we undertake at Ooligan, each publishing house may differ from these steps depending on their department structure. No editing schedule is the end-all be-all for editing, but a good editor will work directly with an author to maintain their vision for their manuscript. The most important job an editor undertakes is helping an author create the best version of their manuscript and strengthen their writing while maintaining their unique voice.

a computer screen with code

Free Resources for Every Step in the Ebook Creation Process

Leave a comment

If you have ever written a book, you might have considered self-publishing, and probably creating an ebook version of your manuscript as well. But you might have run into questions such as: Can I create the ebook for my own manuscript? How do I even start?

While creating an ebook might seem a daunting and scary task, there are plenty of free tools and tutorials online that will make your task easier and more affordable. In this blog post, I am going to walk you through the basic steps of creating an ebook and the free resources that are available for every step.

Your first step in creating an ebook will be to convert your document into an EPUB file. There are many options and paths for the conversion, but it will all depend on where you have written your manuscript. The most common paths are the following:

  • If you have written your book in a Word document, you can use the tool Calibre to convert your file into an EPUB.
  • If you have written and designed your book in InDesign, you will be able to export it directly into an EPUB without any other tools.

There are obviously a lot more options to write and format your ebook, and I have only mentioned the most common ones, which are also standards of the industry. For an exhaustive explanation of how to format your ebook and which tools you can use, you can read the following article: https://kindlepreneur.com/how-to-format-a-book/.

Once you have your EPUB file, you can move on to perfecting the aesthetic, format, and functionality of your ebook. To start, it is advised to open your ebook and browse through it. You can use any electronic reading software that you have available, such as Apple Books, Google Books, or even Calibre, and you should try to view it on different devices (phones, tablets, laptops, and ereaders).

At this point of the process, you might run into mistakes or elements that you want to correct and perfect, and you can do so by going directly into the code. These are some of the free resources available for opening your ebook and exploring the code:

  • Sigil. This is an excellent tool with which you can open your entire ebook and navigate all the files at once. It also has a second screen where you can see what your ebook looks like and how the different changes you make affect the layout. Moreover, all the changes you make and save will apply directly to the EPUB file you have stored.
  • Text editors. You can also use any text editor to play around with the code of individual files. These tools usually have color-coded tags and autocomplete features that will create closing tags for you. Some of the most popular text editors are Brackets, Sublime, Atom, and Visual Studio Code. If you choose to go this route, you will have to zip and unzip your EPUB file every time you want to work with it.

After you are done editing the code, you will have your complete ebook. But before uploading it to any platform, you need to validate it to make sure everything works and ebook standards are followed. And, of course, there are free tools for this step as well:

  • Pagina’s EPUB-Checker. This tool scans your EPUB file for any errors. If errors are found, they will appear in red and be listed with details of the type of error and the file where this is. If everything is correct, the items listed will appear in green.
  • Kindle Previewer. If you want to make your ebook available on Amazon, this tool is particularly useful because Kindle has its own specific guidelines. This tool allows you to execute a quality control and identify those elements that you need to change in order for your ebook to be accepted into Kindle.

Once your ebook is validated, it is ready to be uploaded. But do not forget to create a cover. Note that before uploading your ebook, you will need a separate file with your cover. If you still have not created one, a free and easy-to-use tool is Canva.

And now it is finally ready to become available to the public. Happy publishing!

a bookshelf full of closely spaced books, with text reading "Inside Ooligan Press", the Ooligan Press fishhook logo, and text "Proposals"

What’s in a Proper (Book) Proposal?

Leave a comment

Note: This is part of the blog series “Inside Ooligan Press”, about how we take a manuscript from an idea to a professionally published book.

So, you wrote a killer query letter and we requested a proposal package, but what does that mean? Before you go and resubmit the same query letter and call it your proposal (as MANY have done) think again!

The proposal package consists of two crucial items, submitted together on our Submittable page. They are your cover letter and your full manuscript, but let’s break it down even further. If you followed our directions with your query, you only sent us the first ten pages of your manuscript. When we request a proposal package, this is your invitation to submit the full manuscript—you got a full read request. Go you! Submit the most up-to-date, most polished version of your manuscript, preferably in a Word document.

The how and why of the cover letter are a little more complex. With your query, you provided just enough to get us interested in reading your full manuscript. With your cover letter, you are trying to convince us that you and your book are the right fit for our press, for our mission, and for our reach. You’ll want to help us envision the future for your book and provide pertinent details about how to best present it to the world—and how you plan to participate in that presentation if we publish it.

Your proposal cover letter can be a beautifully designed document organized into sections and contain striking headings, images, and mock-ups of the cover, or it can be a bunch of words on a page. While a stylized document certainly helps us envision your book and its potential future more readily, it is not required, and words alone will suffice. Just be sure to include the words we’re looking for.

First up is the content warning. This means letting us know if there is anything in your manuscript that may be triggering to a reader. Triggers vary, but the most common ones include self-harm, suicide, sexual assault, graphic violence, substance abuse, and disordered eating. If you are unsure whether something you’ve written may be a trigger, err on the side of caution and warn us. Do note that this warning will not prevent your manuscript from being read and considered: it simply ensures that the right person will be reading and evaluating it (the right person being an editor to whom the content will not cause mental or emotional harm).

The rest of your letter should include a synopsis of your book, the projected page count, a table of contents if appropriate, the genre and intended audience, comp titles, marketing ideas, and any connections or platforms you have that may be utilized for marketing and promotion purposes. If your query letter did not contain an author bio written in the third-person detailing your pertinent background information, include that here as well. Yes, this requires a little effort, but there is a reason for it, I promise.

Once the Managing Acquisitions Editors decide yours is The One, we still have to pitch your manuscript to the entire press before voting to accept or reject the project. We must convince them to see what we see, that there is potential for a successful collaboration with you and your book. We do this with a pitch presentation, which contains the information from your cover letter, along with our own in-depth market research guided by our expertise in the publishing industry. We set it to music and a little light choreography. That last bit is not true. But we do have to make a strong case for why we should publish this book and be convincing in its presentation: a solid informational foundation and an author who understands their book, has realistic expectations, and is willing to work alongside us to get the job done can make or break our case—and it is your cover letter that reveals all of this to us.

Every manuscript for which we request a proposal package gets thorough, careful consideration. But even with an excellent manuscript, the author’s work is not done. You’ve got to convince us that you and your book are the right fit for us, that you are willing to do what is asked of you and more—and that begins with creating a proper proposal.

blue abstract fluid art

 Start to Finish: An Introduction to THE FRENCH SCI-FI PROJECT

Leave a comment

Ooligan Press is very excited to announce our newest title, tentatively called The French Sci-Fi Project, publishing in Spring 2024! This book will be a collection of translated French science fiction short stories. These stories cover many topics ranging from language and technology to utopia and health in futuristic contexts.

We are thrilled to be working with
Dr. Annabelle Dolidon for this project. Dr. Annabelle Dolidon is a professor of French at Portland State University. She teaches French language classes as well as literature seminars and courses on film and comics. She specializes in post-WWII novels and short stories and has a special interest in science fiction. She has published articles on the genre in academic journals and an open-source textbook for all to use, available on PDXScholar, the open educational resources platform of the university. She has also published three other textbooks for the French classroom.

The goal of this project is to introduce the French science fiction genre to English readers and foster discussion. Each of the stories will feature an introduction by Dr. Dolidon and discussion questions to accompany the story and help guide conversation around the topic.

This project is Ooligan’s first translated anthology title, which makes it extra special and allows the press to learn additional skills. Our Rights department has been working closely with French publishers and authors to acquire the rights to the stories and negotiate their terms. At this point, we are in the early stages and still working on acquiring rights to the remaining stories and going through the process of contracts. The translation process for the titles we have acquired is currently taking place as well.

My name is Kyndall Tiller, and I am the current project manager. We have a fantastic team currently working hard on this project! Over the summer our team started working on the beginning marketing stages. We did a lot of market research, which is crucial since science fiction is not a genre that Ooligan works with a lot. In our research, we created personas to best identify who the target audience for this book will be. We also looked at comparative titles and their place in the market, along with their marketing strategies. During the fall term, the team focused on the marketing plan and continued to build our contact list. Some of the marketing aspects we’ve been working on are key selling points, keywords, and brainstorming marketing strategy. Because of how unique this project is, this process has been really interesting and allows for a lot of creativity from the team. We are also working on a fundraising campaign to raise money for the rights and translation costs, so keep a look out for that!

This project is so fun because it is something completely new to the press. We have a longer timeline than the past few titles have had, which is going to give us the opportunity to experiment with some really cool marketing and publicity ideas. It will be a learning process for everyone involved and allows students to work with a new genre and translations. Stay tuned for more updates on this exciting project!

the word "proofread" followed check boxes that say "grammar," "formatting," and "spelling"

The Dos and Don’ts of Proofreading

Leave a comment

The topic of copyediting is talked about at length within the publishing industry, but there is little discussion about another aspect of the editorial process that is equally as important: proofreading. Here is a quick guide to everything you need to know about proofreading your next project.

Proofreading is one of the last steps in the editorial process. The manuscript has completed all rounds of copyediting, has been XML typecoded, and has been sent to the designer to complete the interior. The book is nearly complete and just needs a final check to ensure that errors weren’t introduced during the design process and that there are no lingering grammatical errors. Proofreading is the final step before the book is sent to the printer, but there is much confusion about what is and is not covered during this stage of editing.

Here are some things to look for as you complete your next proofread:

Weird Spacing:

Be on the lookout for missing spaces between words or punctuation and places where there are additional spaces where there shouldn’t be.

Leftover XML Coding:

At Ooligan, our books are XML typecoded so that the designer knows what special treatment different words and sections should have. Sometimes parts of this code accidentally make its way into the final manuscript, so be on the lookout for erroneous code.

Discrepancies:

Double-check that everything from the final version of the manuscript has been included in the designed version. Check for missing paragraphs or words, missing images or graphics, or missing punctuation marks.

Punctuation:

As you are proofreading, check the punctuation surrounding words that are in bold or italics—do they follow the guidelines outlined in your style guide? Also be on the lookout for placement of punctuation within quotations—do they follow the guidelines outlined in your style guide?

Closed vs. Open Compounds:

Make sure that compounds are following the Hyphenation Guide for Chicago.

Consistent Spelling:

Be on the lookout for names, places, and other words that may be spelled inconsistently throughout the manuscript. We recommend keeping the style sheet for the book nearby as you proofread.

Ellipses:

Double-check that all ellipses are formatted according to the style guide. For Chicago, it is three periods with spaces: . . .

Windows, Runts, and Orphans:

Be mindful of the way paragraphs start and end. Widows happen when the last line of a paragraph starts at the top of the next page. Runts occur when the last line of a paragraph ends with a single word. Orphans happen when the first line of a paragraph is on the bottom of a page.

Here are some things to keep in mind when completing a proofread. The time for any substantial editing is over. Now is the time to look for any glaring errors that are remaining after the copyedits are completed. We don’t want to be rewriting any of the text or posing queries to the author—there shouldn’t be any substantial changes to the manuscript at this stage.

I hope this guide helped shed some light on what is expected—and what to avoid—for your next proofread.

Happy proofreading!

Gargoyle overlooking city of Paris

Marketing YA Fantasy

Leave a comment

At Ooligan Press we publish about four new titles each year. Each book has a unique aesthetic which is consistent across all marketing, design, publicity, and social media collateral. In order to inform this aesthetic, our team puts together a “branding brief” for each book. This document serves as a way to inform how our marketing should look and feel.

Currently, our team just completed the branding brief for Keepers of Aris, our upcoming YA fantasy novel by Autumn Green. Keepers of Aris is about a young woman, Jay Raremore, who was born with immense and growing magical powers. At the time when our story takes place, Aris Magica, the secretive realm of magic that exists parallel to humanity, is in danger and Jay is the only one powerful enough to save both worlds.

Keepers of Aris touches upon themes such as grief, loss of innocence, and the struggle of battling with real-life and inner demons. Because the content of the story is more advanced, one of our goals is to make it clear in our marketing materials that this is a book that will appeal to an adult audience, as well as to young adult readers. To do this, we need to make it clear that Keepers of Aris, as far as young adult books go, leans more towards the adult end of the spectrum, rather than the middle grade end. Often middle grade novels include cartoonish or illustrated images on their covers or images with recognizable faces or silhouettes, which we have avoided using on the cover. For future marketing materials, we are avoiding bright or vibrant colors and using a darker color palette instead. On the other hand, we also want to avoid communicating that Keepers of Aris is too heavy or dark for a young audience. As a result, we are not going to focus on the violence or bloodshed in the story; this is not a significant focus of the novel, so we don’t want it to be a significant focus in our marketing.

Another consideration when branding Keepers of Aris is how to communicate what type of fantasy the book entails, or what subset of fantasy it falls into. Keepers of Aris can be considered low fantasy, meaning that the story takes place in a world that is otherwise normal, outside of the magical elements that our characters encounter. This is in contrast to high fantasy, in which the story takes place in an alternative world. Keepers of Aris takes place in the modern-day universe, so we want to steer away from an aesthetic that would communicate a medieval, ancient, or futuristic setting.

The plot of Keepers of Aris largely takes place at the Institute, a boarding school for teenagers with magical abilities. To communicate this, we are going to focus on images related to the aesthetic of “dark academia”. Dark academia is typically associated with a darker, moodier color palette and images of gothic architecture, vast libraries, school uniforms, and candlelit study sessions.

All of these things help communicate the tone of the book, which we described as being “serious, somber, dark, and mysterious”. Developing a cohesive brand for a book helps communicate to readers the core message and themes of a book, thereby connecting our book with our target audience.