The Publishing Reality Check

The free publishing guide for new authors

Before you spend a penny publishing your book

Getting started

Getting a book published can cost absolutely nothing. You can upload your manuscript to Amazon KDP and have it available for sale worldwide without spending a penny. Everything beyond that is a choice. The problem is that many new authors are persuaded they must spend hundreds, or even thousands, of pounds before they can call themselves published. That simply isn’t true.

This evolving publishing guide exists to help you make informed decisions. Subscribers will have access to manuscript assessment, honest advice, scam alerts, case studies and recommended resources, all completely free of charge.

According to Bowker, the official US ISBN agency, more than four million books were published in the United States during 2025. Over 3.5 million of those were self-published, illustrating just how competitive the market has become. To everyone else, your book is one among millions. To you, it’s unique.

A reality check

Every author dreams of writing a bestseller. A very few do. Most don’t.

If you’re self-publishing your first book, don’t measure your success against the exceptional stories you see on social media. They are exceptional for a reason. Industry estimates suggest that many self-published books sell only a few hundred copies during their lifetime, and many never reach that figure.

At the time of writing, my novel Kintyre, The Past Doesn’t Forget, has sold 274 copies. Some people might see that as disappointing. I don’t. Those 274 copies represent 274 readers who chose to spend their money and their time on something I created. Success isn’t always measured in thousands of copies. Sometimes it’s measured by the opportunities your book creates. Define success before you start spending money chasing it.

Don’t compare your first book with someone else’s tenth. That’s one of the most common traps new authors fall into.

Is your manuscript ready?

This question applies, whether you intend to be published by a traditional publisher, normally through an agent, or whether you’re considering the self-publishing route.

Put it away for a few weeks. Give your brain a rest. Read it again. Slowly. You’ll be amazed what you pick up when rereading your own work.

Use trusted readers. There are always generous people on social media who will help with what’s often called Beta reading. Ask them to read four or five chapters each, and give you feedback, but be specific about the feedback you want. The more specific you are, the more useful the result. If several people identify the same problem, there’s a good chance it’s worth addressing before moving on to editing.

AI assessment

AI can provide a fast, objective assessment of your manuscript before you spend money on professional services. Used properly, it can identify strengths and weaknesses, structural issues, pacing problems, character consistency, repetition, dialogue that feels unnatural, confusing passages, plot holes or continuity issues, chapters that could be tightened, and areas that may lose a reader’s interest.

What it can’t do is replace your voice, creativity or judgement. Think of it as a knowledgeable first reader rather than an editor.

Common mistake: Asking AI to rewrite your manuscript. Good AI should help you become a better writer, not replace your writing with its own.

Scams and warnings

Vanity publishers make their money from authors rather than readers. They often promise wide distribution, marketing support and commercial success, but many rely on expensive publishing packages that offer little real return. Some provide perfectly acceptable services. Others rely on unrealistic promises and inexperienced writers. Always research thoroughly before signing a contract.

For many writers, the moment someone says, “We’d like to publish your book,” it feels like they’ve reached the promised land. That’s understandable. Traditional publishers invest in your book because they believe they can make money from selling it to readers. Hybrid publishers ask you to invest alongside them. Some offer genuine value and a professional service. Others rely heavily on flattering authors. Vanity publishers make their money primarily from authors, not readers. Before celebrating, ask one simple question:

Who is taking the financial risk?

If it’s you, understand exactly what you’re buying and what you’re likely to receive in return. Thousands of successful authors have followed every one of these routes. The important decision isn’t choosing the most prestigious option. It’s choosing the one that’s right for you.

My advice: Never let anyone tell you there’s only one route to publication. Understand the options. Ask questions. Read every contract. Take your time.

Copyright

Copyright is one of the most misunderstood areas of self-publishing, and making the wrong assumptions can prove expensive.

If you’re paying someone to design your cover, don’t automatically assume you own it. In many cases, you’re buying a licence to use the artwork rather than the copyright itself. Always ask what rights you’re receiving before agreeing to any work. The same applies to photographs, illustrations, fonts and stock images. Just because you can download or copy something from the internet doesn’t mean you have the right to use it on a commercial book cover.

If you use AI-generated artwork, check the terms and conditions of the platform you used. Most major AI services now allow commercial use under certain conditions, but the rules vary and can change over time.

If you’re commissioning artwork, ask for written confirmation of exactly what you’re entitled to do with it. Can you use it on future editions? Audiobooks? Merchandise? Translations? Advertising? It’s far better to clarify these points at the beginning than argue about them later. Keep copies of licences, invoices and written agreements.

Common mistake: Assuming that paying for a cover means you own every aspect of it. Always establish who owns the copyright and exactly what rights you’re purchasing.

Editing and feedback

Never pay for editing simply because you think you have to. First, get your manuscript into the best shape you can yourself. If you’re seeking traditional publication, submit it when it’s as strong as you can make it. If you’re self-publishing, that’s the point at which you should seriously consider whether professional editing will add value.

Not every manuscript needs every type of edit. Many authors spend money on services they simply don’t need, while overlooking the one that would have made the biggest difference. Let’s look at each in turn.

Developmental editing, the big-picture edit
A developmental editor looks at the story itself rather than the words on the page. They may question the plot, pacing, structure, characters, point of view, themes, or whether the book delivers what readers of the genre expect.
Typical cost: £500 to £3,000+
Worth considering if you’ve finished your first novel, something doesn’t quite work but you can’t identify what, or trusted readers are finding the same issues.

Structural editing
Often confused with developmental editing, structural editing focuses on how the manuscript is organised. Chapters may be moved, shortened, combined or removed altogether to improve flow and readability.
Typical cost: £300 to £2,000+
Worth considering if the book feels slow, the timeline is confusing, or information appears in the wrong order.

Line editing
This is where the writing itself is refined. A line editor concentrates on style, clarity, repetition, rhythm and readability while preserving your voice.
Typical cost: £300 to £1,500+
Worth considering if readers understand your story but comment that parts feel clumsy or repetitive.

Copy editing
Copy editing deals with accuracy and consistency. It looks for spelling, grammar, punctuation, factual inconsistencies, formatting, names, dates, capitalisation and continuity.
Typical cost: £250 to £1,200+
Worth considering if you’re close to publication.

Proofreading
This is the final check before publication. A proofreader isn’t there to rewrite your book. They are looking for the last remaining mistakes after everything else has been completed.
Typical cost: £150 to £800+
Worth considering if your manuscript has already been edited and formatted and is ready for publication.

The biggest mistake: Many first-time authors pay for proofreading when what they actually need is developmental editing. Others pay for developmental editing when their story is already sound and only needs a careful proofread. Understanding the difference could save you hundreds, even thousands, of pounds.

My advice is simple. Don’t buy an editing service because someone tells you that every author needs one. Buy it because you understand exactly what it does, why your manuscript needs it, and what value it will add.

Cover design

Probably the single biggest marketing decision you’ll make. People really do judge a book by its cover. A good cover doesn’t simply look attractive. It attracts the right readers. Its job is to persuade the reader to turn it over, read the blurb or click “Look Inside.” Only then does the writing get its chance.

One of the biggest mistakes new authors make is designing the cover they like, rather than the cover their readers expect. Every genre has its own visual language. Before making any decisions, spend an hour browsing the top-selling books in your genre. What colours are used? What fonts? Is the focus on a person, an object or a landscape?

Typography

The title and author’s name are often the first things a reader notices, and poor typography can make even the best artwork look amateurish. Choose fonts that suit your genre. Keep it simple. Your title should be readable at a glance, even as a small thumbnail on a phone.

The back cover

The front cover attracts attention. The back cover closes the sale. A good back cover usually includes a compelling blurb that creates intrigue without giving away the story, a clear understanding of who the book is for, an author biography, reviews if you have them, and a barcode and ISBN.

Thumbnails

For many readers, your book will never be seen at full size. The first time they encounter it will probably be as a tiny thumbnail on Amazon, often no bigger than a postage stamp on a mobile phone. Ask yourself one simple question: can I still read the title? If the answer is no, your cover needs more work.

Common mistake: Designing a cover for a printed book instead of an online marketplace.

AI-generated artwork

AI can produce striking, professional-looking images in minutes and at very little cost. But AI is only a tool. The quality of the result depends almost entirely on the quality of the instructions you give it. Before using AI-generated artwork commercially, check the licence terms of the platform you used. Look carefully for distorted hands, unrealistic faces, or other visual errors AI images can still produce.

Commissioning an artist or designer

Before approaching anyone, be clear about your book. Know its genre, target audience and the impression you want the cover to create. Ask exactly what is included in the price: front cover only, full paperback wraparound, eBook version, spine design, typography, a set number of revisions, social media graphics. Ask about timescales, payment terms and who owns the finished artwork.
Typical costs vary enormously, from under £100 for a simple design to several hundred pounds or more for a bespoke illustrated cover.

The blurb

Your cover attracts attention. Your blurb sells the book. One of the biggest mistakes new authors make is treating the blurb as a summary of the story. It isn’t. Its purpose is not to tell readers what happens. It’s to make them want to find out.

A good blurb introduces the central character, establishes the situation, hints at the conflict and leaves the reader asking questions. Curiosity sells books. Spoilers don’t.

Ask yourself one question when you’ve finished: would I buy this book based on the blurb alone?

Common mistake: Writing the blurb after you’ve finished the book. You know everything that happens. Your reader knows nothing. Resist the temptation to explain. Your job isn’t to answer questions. It’s to create them.

Who is taking the financial risk?

My advice: Never let anyone tell you there’s only one route to publication. Understand the options. Ask questions. Read every contract. Take your time.

Copyright is one of the most misunderstood areas of self-publishing, and making the wrong assumptions can prove expensive.

Common mistake: Assuming that paying for a cover means you own every aspect of it. Always establish who owns the copyright and exactly what rights you’re purchasing.

Publishing options

This is the point where many authors become overwhelmed — traditional publishing, self-publishing, hybrid publishing, vanity publishers, assisted publishing. None of them is automatically right or wrong. Before making any decisions, ask yourself: Why did I write this book? Your answer should influence every decision that follows.

Traditional publishing

A traditional publisher acquires the rights to publish your book, pays for editing, design, production and distribution, and usually pays the author royalties on sales. In most cases you’ll first need a literary agent.

Advantages: No upfront costs, professional editing and design, bookshop/library distribution, greater industry credibility.

Disadvantages: Highly competitive, long waiting times, less control, lower royalty percentage, no guarantee of acceptance.

Royalty rates vary, but around 10% of the recommended retail price is common for a first-time author. Pay attention to territorial rights, digital rights, translation rights, and how rights revert to you if the book goes out of print.

A publishing contract is a business agreement, not a reward for writing a good book. Read it with your head as well as your heart.

Literary agents

A literary agent represents authors and submits their work to publishers, negotiating contracts and advising on commercial potential. A genuine agent doesn’t charge an upfront fee — they earn a commission, typically around 15%. If someone wants hundreds of pounds to assess your work upfront, proceed with caution.

Submission

Every publisher and literary agent has submission criteria. Ignore them and your manuscript is unlikely to make it beyond the first stage, regardless of how good it may be. Pay particular attention to word count limits. A rejection doesn’t necessarily mean your book isn’t good enough — sometimes it’s simply a matter of timing or differing opinions within a selection panel.

Self publishing

You become the publisher, retaining complete control over your manuscript, cover, pricing, publication date and marketing.

Advantages: Free to publish, complete creative control, higher royalties, publish when you’re ready.

Disadvantages: You’re responsible for every decision, marketing is largely your responsibility, success depends heavily on visibility.

Hybrid publishing

Combines elements of traditional and self-publishing — authors usually contribute financially towards production costs while receiving professional services. There are reputable hybrid publishers, and there are companies that simply rebrand vanity publishing. Know the difference.

ISBNs

If you’re publishing through Amazon KDP, you don’t need to buy one — Amazon provides a free ISBN. Owning your own ISBN gives you greater control and independence, worthwhile if you’re building a publishing business or distributing widely. Each edition (paperback, hardback, eBook, audiobook) requires its own ISBN.

My advice: Don’t buy an ISBN until you understand why you might need one. For most first-time self-publishers, the free ISBN is an excellent place to start.

Distribution

Distribution is the process of getting your book into places where people can buy it — Amazon KDP, IngramSpark, Gardners, local bookshops, libraries, book fairs. Availability is not the same as visibility — your book may be available everywhere, but if nobody knows it exists, very few will find it.

My advice: Think about distribution before you publish, not afterwards. Ask: where are my readers most likely to buy this book?

Marketing your book

The launch

You only get one publication day, but if you plan properly, your launch can become a process rather than a single event — lasting weeks or even months. Start making a “people list” — family, friends, former colleagues, sports clubs, book groups, everyone. Your eBook and paperback don’t have to launch on the same day. Reveal the cover a month beforehand. Offer signed pre-orders. Arrange podcast interviews.

The most valuable marketing resource you already possess is you — your enthusiasm, your story, your network.

Marketing

Good books don’t naturally find readers. Marketing isn’t about persuading people to buy a bad book — it’s about helping the right readers discover a good one. You don’t need a huge budget; you need time, consistency and patience.

Ways to market a book include social media, your own website, building an email list, local newspapers and radio, podcasts, book festivals, library events, bookshops, reader reviews, word of mouth, and networking with other authors. No single method works for everyone — the most successful authors use several, consistently, over a long period.

Marketing begins long before publication. Build interest, share your journey, introduce your characters before launch day.

My advice: Don’t try to market your book to everyone. Identify the readers most likely to enjoy it, then spend your time and energy reaching them. The best marketing tool you will ever have is your next book.

Money and mistakes

What should I realistically expect to spend, and where is my money most likely to add value? Throughout this guide we discuss the potential costs of editing, cover design, ISBNs, publishing and marketing. One thing they all have in common: every one of them starts at zero.

Before you spend a penny, decide on a realistic budget and the maximum you’re prepared to invest over a defined period.

In a nutshell:

Publishing can cost nothing.
Every additional expense is a choice.
Establish your total budget before buying individual services.
Never judge a service in isolation — consider what else may be required afterwards.
Separate essential expenditure from desirable expenditure.
Ask what is included, what remains yours, and what could create future costs.
Don’t spend £500 trying to recover £100 you’ve already spent.
Decide what success means before deciding what return is acceptable.
Keep records of your spending and income.

The recurring mantra throughout this guide, and one for which I make no apology, is simple: Understand why you are spending the money before you spend it.

Was it worth it?

Only you can answer that question. Not your publisher. Not your family. Not the sales figures. You.

Success means different things to different people. If your only measure of success is the number of copies sold, you’re likely to be disappointed, very few books become bestsellers. If your measure of success is that you finished something most people only ever dream about, your perspective may be very different.

Common mistake: Believing that publication is the end of the journey. For most authors, it’s simply the beginning.

My advice: Don’t judge your book against someone else’s success. Judge it against the reason you wrote it in the first place. If you’ve achieved that, you’ve already succeeded. Now write the next one

Manuscript assessment

Decision pending: build as downloadable PDF, or as an interactive on-page form. This block is a placeholder until that’s decided.

This is something I wish I’d had access to when I was writing my first book, because the biggest enemy of any writer is self-doubt. Is my story any good? Does it make sense? Will anyone want to read it? Those questions stop more books than bad writing ever does.

This assessment isn’t intended to tell you whether your book will become a bestseller — nobody can do that. Its purpose is to provide an honest, objective assessment, identifying strengths, highlighting areas that could be improved, and helping you decide what should happen next.

Full scoring tool (10 categories, each scored /10): Concept, Opening, Structure, Writing Style, Characters/Credibility, Pace, Emotional Engagement, Authenticity, Presentation, Market Potential, plus a Summary (biggest strengths, biggest opportunities, immediate priorities), a Recommended Next Step checklist, and an Overall Recommendation rating.

A final word

This isn’t intended to be the definitive guide to publishing. Publishing is constantly changing, and no single author, publisher or editor has all the answers. Much of what you’ll read here comes from my own experiences as an author, publisher and self-publisher, together with the lessons I’ve learned and mistakes I’ve made.

There are millions of authors around the world, each with their own experiences.

My aim is to create a trusted resource where writers can learn from one another, share honest experiences and make informed decisions. If, together, we can save just one writer from wasting money or abandoning a book that deserved to be written, this project will have been worthwhile.

Welcome aboard.
Simon McLean
tartantalesmedia.com

Recommended services

Over time this community will identify editors, designers, formatters, printers and other professionals who consistently provide good value and honest service. This isn’t a directory of advertisers, it’s a list built on experience.

Contributions

Have you used an editor you’d recommend? Have you found a marketing technique that genuinely worked? Have you avoided a scam others should know about?

Tell us — Simon@tartantalesmedia.com