Lulu UK Blog

Welcome to the Lulu UK Blog where we look forward to chatting about our services and the publishing industry and writing in the UK and Ireland.


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What does it mean to be a self-published author in 2018?

Many authors look forward to a new year. More than most crafts, writing, although a solitary occupation, also divides itself into seasons. At the start of the year there’s everything to play for: a new crop of prizes to aim for, a new festival circuit to plan, new events, finish that book, start that book, new readers, more challenges, more opportunities.

As a self-published author embracing 2018, it’s worth spending a little time on pondering what those opportunities look like. They may be more varied – and potentially more lucrative – than you think.

So, what determines whether an author is successful? Is it because they’re someone whose work gets noticed? Someone who draws in fresh readers all the time? Who makes money from his or her writing? It’s all of these things, of course, but the methods open to you to achieve them may be more varied than you realise.

First of all, if you ever doubted the wisdom of choosing self-publishing, there are now many statistics available to reassure you; and in the unlikely event that you are still harbouring doubts, here are some ‘good news’ stories to enthuse you:

Self-publishing authors have grown by 11% in the UK

In 2015, the proportion of ISBNs issued to books self-published in the UK jumped to 21%. In 2016 this figure grew by a further 11%. (Figures for 2017 have yet to appear.) This should tell you you’re in good company: there must be a reason why so many savvy authors, including some who have worked with traditional publishers for many years, have decided to turn to self-publishing.   These authors are continually exploring new formats: whilst it is true that there has been a dip in e-book sales over the past two years, a trend which looks likely to continue, self-published authors are becoming ever more confident about choosing other format options, including print and audio books.

Self-publishing authors are savvy

Publishing their work in as many viable formats as possible, however, fulfils only some of the aspirations of the most enterprising authors. Setting their sights beyond traditional publishing formats, some authors are looking to television – which offers many more opportunities now that the cable television companies and net-streaming companies are becoming well-established.

Once an author has succeeded in making a breakthrough in a new format, his or her expertise is highly sought after by other writers. Some may offer advice and help for free, at least at first, but it’s more than likely that soon they’ll realise that it is turning into a full-time job and that a lucrative career as a consultant is beckoning. The types of consultancy they may wish to offer can take a variety of forms: some may wish to concentrate on giving advice on the actual practice of writing or to act as commissioned editors, while others will have developed a propensity for marketing or the practical aspects of publishing. All s/he needs is to advance that one step up the ladder to set him or her apart from the crowd, and s/he will be able to establish a flourishing career that marries perfectly with his / her first vocation of author. And with Lulu at hand to help them, harvesting such opportunities no longer need be a daunting prospect.

If you’re interested in exploring new ways of making money from your writing, you could do worse than start with this free slideshow – 17 Passive-Income Ideas for Automating Your Cash-Flow – which may be downloaded at

Understanding how social media can help

Whichever route you take to enhance your prowess as an author and at the same time improve your income, it is crucial that you work on your social media skills. Social media gets a bad press sometimes, because, like all forms of communication, it’s open to abuse or sloppy or incorrect presentation. However, there are few authors today – even those at the very top of the tree, who are earning millions each year – who can manage without a website or at the very least a blog. Some authors are wary that engaging with social media will make such huge inroads into their time that they won’t have time to do anything else; and it is true that some people become addicts and allow themselves to be trapped in this way.

The way to avoid becoming bogged down like this is to use social media strategically. There is quite an art to this: it may be an area where you might yourself like to pay someone for advice – it will certainly pay dividends in the long run, as when you become expert, you’ll also be able to coach others. If, however, you’re fairly confident about your social media skills and just want some tips on how to hone them, you’ll be able to find plenty advice about this on the web (just be selective about which tips you choose to follow). Here is a link that you may find useful:

It’s already February, and if you’re keen on New Year’s resolutions, you will probably have made (and possibly also have broken!) yours a month or so ago. Whether or not this is the case, there’s no law against making some (possibly more robust) new ones a few weeks into 2018. If you’re determined to raise your profile as an author and at the same time make more money from your writing this year by pursuing some exciting new avenues of opportunity, perhaps this article has provided you with a few ideas.


You can do it. Good luck!











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How do I make money as an author?

Why do authors write?   Why put themselves through long hours toiling alone, often having to scrap the whole day’s output when mature reflection on the following day tells them their words are fit only for the recycle bin? Why do they abandon ‘safe’ careers or put them on hold, compromise their financial position, truncate their social lives, just so that they can write?

Of course, the picture I’m painting here is far too bleak. Not all authors choose to make material sacrifices and few are afflicted by all the misfortunes I describe. It remains true, nevertheless, that the ‘writing bug’ bites deep. Compounded of the quest for fame and fortune and the joy of seeing one’s name in print, it’s a complex sentiment seldom motivated solely by the desire for financial gain – though there are exceptions to this rule. For example, Ian Rankin, creator of Rebus, who is single-handedly responsible for 10% of all crime fiction sales in the UK, once famously said that he became a writer in order to make enough money to marry his future wife. What astounds here is not so much his ambition as his (it turns out, justifiable) self-confidence: many writers may aspire to the creation of wealth by the pen, but few succeed. Rankin managed to pull it off and become both rich and famous, but, in common with all authors, the odds were heavily stacked against him.

Although most authors harbour secret hopes of making money from their writing, few really expect it to support them. Nevertheless, being a writer is not without its expenses: travelling to events, paying for membership to writers’ groups – all require financial outlay. There may also be occasions when you will need to take some unpaid leave in order to fulfil a writing engagement. Added to all of these, and equally important, is the immense sense of achievement that every author feels when he or she gets paid for something directly associated with his or her writing. The effect of this should not be under-estimated: often it is the vital boost that provides you with enough courage to keep going!

It is therefore not difficult to make a powerful case for the benefits derived by authors from generating income from their writing. Developing an actual strategy for financial gain can be trickier. The rest of this article is devoted to some (mainly modest) ways in which authors can make money.


Organisers of events, even though they don’t have much money to spend, are often scrupulously ethical about not expecting authors to contribute for free. Festivals take the lead here, but expect to have to work hard! Your best way of featuring on the programme of a festival is probably to agree to run an authors’ surgery. This may involve being sent up to 3 chapters of prospective authors’ MSs in advance, reading them, and then meeting the authors at (typically) 15-minute slots allocated by the festival organisers. For this you will be paid a modest hourly rate for the time you put in at the festival only – so, for example, if the rate is £30 an hour and you see 12 authors, you will be paid for three hours, i.e., £90. If you’re asked to deliver a talk or workshop at the festival on some aspect of writing (typically, it will last for about an hour), you can expect a payment of, perhaps, £90 – £100. Leading a half-day or day-long workshop will pay you more, but not proportionately more: you may get £150 – £250 for a half-day, £300 – £400 for a full day. In addition to this, the festival organisers will usually also pay travel expenses and, if the festival is being held at a venue where accommodation is plentiful, such as a university campus, free accommodation. As a rule of thumb, the expenses / fees you receive will help you to break even, or do a little better than that. There are other bonuses: usually you’ll be able to attend sessions at the festival when you’re not ‘on’ yourself; you’ll get the opportunity to meet other writers and publishers; and if the festival has a book stall, and you ask in good time, the bookseller may be happy give you a slot for a signing session and help you to publicise it.

Top tip: aside from the possible signing session, don’t forget that this is not mainly about you and your own writing: it’s about helping other writers. But you will benefit, both directly and indirectly, if you become well-known on the festival circuit.

Libraries like to host author events. Many libraries run one or more reading groups, so if you are invited to speak at an event, they will have a ready-made audience for you – though, as with securing an audience for any event, you should take nothing for granted: the more work you put in to build up the audience yourself, the more successful the event is likely to be.

You should be aware that there are now two main types of public library in the UK: those that are still maintained by the local authority and those that are now run by the local community (i.e., by a group of unpaid volunteers who have come together to keep the library open). Although all libraries are strapped for cash, those run by local authorities are more likely to have a proper budget to support events and therefore be able to offer you a fee. If the library is run by the local community, it is unlikely to be able to stretch beyond picking up travel expenses.

If the event consists simply of a talk about your latest book, perhaps followed by some readings and a signing session (most libraries are happy to allow you to bring in books to sell, or to arrange for a local bookseller to do it), you can’t really expect much in the way of payment, as essentially the library is giving you publicity to help promote your book (though some will still be prepared offer modest travel expenses). If the event is a lengthier, more organised occasion at which, for example, you’ve been asking to run a writing or reading workshop or lead a literary game, the library may then offer you a fee. As indicated, fees vary according to the library’s finances: for an afternoon or evening event lasting two hours or more you may be offered a fee in the region of £150 – £200, plus travel expenses.

Top tips: Except in the case of a talk about your book / readings, again understand that this is not about you: your focus should be on the readers, what they like to read and how they approach the books they read. If the session is a workshop, prepare it very carefully, and learn from your mistakes: take stock afterwards of what worked and what didn’t work. Try to build up a rapport with the audience so that they ask to see you again. Make sure that the librarians involved know how grateful you have been for the opportunity: send them a thank-you card afterwards. Remember that a huge additional perk is that libraries buy books for reading groups in sets, often of eight copies or more.

Schools often have a budget to pay authors. Usually this is for running a half-day or whole day workshop. They may be looking for specific types of author, however: performance poets are the most popular. Some schools are interested in creative writing workshops (and, as with festivals, they may ask you to examine students’ work in advance). Typical fees are £300 – £400 for one day, £150 – £250 for a half-day. In certain circumstances, schools may also offer you the opportunity to sell your books to students / staff. If so, it is wise to offer a discount on the cover price.

Top tips: This is one of the hardest kinds of paid work to pull off successfully. You need to carry out a significant amount of research beforehand: make sure you understand the age-range, ability, ethnic mix and interests of the groups of students you will be working with. Run the exercises and readings you’re planning past their teachers. Be prepared to make swift changes to your programme if it’s clear that something isn’t working. Make sure you work with groups that are small enough for you to be able to manage them, and for a relatively short period of time: it’s unlikely that you’ll be able to engage the concentration of a schools audience for more than one hour.

Universities and colleges that run creative writing courses may also be interested in paying you to give a talk (usually for one hour) or workshop (usually for one-and-a-half to two hours) on some aspect of writing or getting published, and may also sometimes pay travel expenses. Paradoxically, they often don’t pay as well as schools, because they have a standard hourly rate for visiting lecturers and are unlikely to want to pay you for more than an hour or two.   Like schools, they may be prepared to let you sell your books to the students.

Top tip: Again, research your audience beforehand. Make sure any exercises you devise are stimulating and imaginative. The students are likely to be politer than schoolchildren if they’re not enjoying the session, but still look for the signs of ennui and be prepared to change tack if necessary.


If you find the suggestions offered so far on how to make money too daunting because they involve more audience engagement than you feel comfortable with, perhaps you are the sort of person who would do better to focus on using your writing talents to make money. It’s worth researching writing competitions, and deciding upon the ones that offer the best fit for you. Some writing competitions offer as the prize only the chance to be published (either by a traditional publisher or a self-publisher) or the opportunity to have your work included in an anthology of short stories. Although this reward is not to be sniffed at – your ultimate game plan should be to gain as wide recognition as possible for your writing – other competitions also offer cash prizes, sometimes very rich ones. For example, the Sunday Times Short Story Award, the richest short story prize available for an English-language short story, is worth £30,000 to the winner, plus the opportunity to get the story published. You should note, however, that it is a requirement for this competition that all entrants have previously had at least one work published by a traditional publisher; and that, although the competition has undoubtedly been won by obscure writers, some very well-known writers will also enter every year and, frequently, it is one of them who wins.

There are many other competitions with smaller cash prizes where the bar is not set quite so high. However, you should always be prepared for disappointment. The quirkiness shown by the judges of writing competitions is well-known: they may have a particular reason for choosing a winner that isn’t directly related to the quality of the writing, for example, because his or her work is very different from the previous year’s winner’s. But writing competitions are an excellent way of honing your writing skills, with the attractive possibility that the immediate outcome may be a financial reward.

Top tips: Make sure you read the small print. Writing competitions often have very strict rules about who is eligible to enter, word limit, subject matter, etc. Some require payment of a (usually quite modest) entry fee. If you fail to comply with any of the rules, your submission will be disqualified, however good it is, and all your hard work wasted.


If your books are on topics that have a strong local interest, or you have succeeded in establishing yourself as a ‘local author’, you may be able to secure commissions for articles to be published in local and regional newspapers and glossy magazines (Yorkshire Life, Lincolnshire Life, etc.). If you’re lucky, you may even manage to secure a regular writing slot in one of them. Rates of payment vary tremendously: some of the glossies will pay quite generously for feature-length articles. Sometimes literary blogs and e-zines will also pay for articles. Book reviews may also attract payment, though it is more usual to be expected to write the review in return for a complimentary copy of the book. Again, all of these provide excellent writing practice.

Top tip: Think about the readership and adjust your style and tone accordingly: you would, for example, want to adopt quite a different approach to writing a short piece for a funky e-zine than that you would take towards crafting an extended piece in an established glossy.


If you’re eligible, you may also be able to obtain a substantial sum by applying for an author’s bursary. These have been set up for various reasons – often to promote the literature, tradition or culture of a particular geographical region, or to aid writers working in a particular genre – so it is not possible to generalise about them. Here are some examples:

It is important to emphasise that in most cases this is not just money given out in return for ‘going your own thing’ as a writer. All impose particular qualifying requirements and most expect authors to fulfil duties – sometimes substantial ones – in return for the bursary. Most bursaries are awarded for one year, but some may last for longer.

An important sub-group of bursaries are writers-in-residence appointments at universities. These are usually tenable for more than one year – often, for three years – and involve fixed duties, including delivering (perhaps six) lectures per year and mentoring an agreed number of students. However, whereas authors’ bursaries can usually be applied for by the authors themselves, it is more often the case that writers-in-residence are invited to take up the post by the university or college concerned.

Top tip: Again, read the small print and make sure that you have complied with all the requirements before applying for a bursary; and if you are lucky enough to secure one, be scrupulous about fulfilling and, if you can, trying to exceed, the terms of the contract.

Literary prizes

All literary prizes give authors inestimable benefits: kudos, becoming better-known, clout when negotiating for contracts. Just being nominated for a literary award, without actually winning it, still brings great gain, particularly in terms of book sales. Some awards also include cash prizes, and these can be substantial. However, you usually have to be nominated for a literary award, either by your publisher or some other respected literary figure.

Top tip: Don’t try too hard for a nomination; if you do, you’re likely to make a nuisance of yourself. Wait for it to happen – and be grateful if it does!

Public Lending Right [PLR]

Public Lending Right, which was set up in the UK in 1979, recognises the right of authors to be paid for the use of their books when borrowed from public libraries. It is administered by the British Library from its offices in Stockton-on-Tees. The amount paid varies from year to year, but is at present around 7 pence per borrowing (the number of borrowings is calculated by collecting data from a group of representative libraries, which changes every year, and scaling it up to produce a notional figure for total borrowings across the country).   Monies are awarded for each title registered. It’s easy to register: see Even little-known authors can make a few hundred pounds a year from PLR (there is an upper limit to the amount that can be earned from PLR by each author, which again varies, but is several thousand pounds). The money is paid direct into your bank account and gives you a pleasant surprise each February.

Top tip: Don’t forget to add new titles to your registered list as they come out. They need to be registered for several months before they start to generate income.

 The Authors’ Licensing and Copyright Society [ALCS]

The ALCS helps authors to track use of their books, scripts, plays, poems, articles, etc. by third parties and secure any royalties they may be owed. If you’re not a very well-known author, the ALCS may not be able to help you immediately, but it’s still worth registering – it’s free of charge, and is likely to benefit you eventually. See

Top tip: As with PLR, don’t forget to keep on registering new work.

Crowd funding

Crowd funding has become a very popular way of raising money in recent years. Essentially, it is a way of raising money for personal needs by asking many people to contribute just a small amount each to your project (which in your case is to support your writing, or, more specifically, your latest book). If you have a blog – and every writer should have a blog and make the effort to post articles on it frequently, so if you don’t have one I’d advise you to set one up immediately – you can use it to ask for crowd funding. However, by far the most effective way of publicising your crowd funding request is to do it through one of the many dedicated crowd funding sites that have been set up. Here are some examples:

If you use one of these to source funds, you can, of course, also put the link on your blog.

Top tips: Preparing a good pitch to ask for funding is all-important. It’s imperative that yours is well-written. Try to make it humorous and think of other ways of ensuring it stands out – perhaps by not just making it entirely about receiving on your part. For example, could you provide a prize draw of, say, six copies of your book as a thank-you? Or offer to coach a young writer free of charge?

 Finally, don’t give up the day job!

You’ll have heard this before: it’s a piece of advice often given to writers, especially those who’ve enjoyed a modest success and think it means that (perhaps) they can live by writing from now on. Please understand that it is highly unlikely that you’ll be able to do this. A recent survey of writers in the UK showed that those who depend on their writing for a living and are supported by no other form of paid employment earn on average less than £8,000 per year. This will include payment from some of the means discussed in this article, as well as straightforward royalties.

There are other reasons for hanging on to the day job besides the imminent prospect of penury. Foremost among these is the richness of experience it brings to you. Imagine sitting at home all day, alternately staring at and pounding away at your keyboard. This may sound like a delightful prospect, but how do you think it might feel after one, two or three years? Never standing on the bus and observing your fellow passengers. Never gossiping in the canteen at work or observing the kindling of the latest office affair. Never walking through town or city streets, glancing in shop windows, noticing subtle changes. These kinds of experience represent untold wealth to a writer: they’re the raw material on which he or she depends. Take them away and after a few years, unless you are an author with a very fertile imagination indeed, your writing will become tired and cliché-ridden; your originality will wither.

This doesn’t mean to say that every writer’s day job is as congenial as any other. You may hate your job; or it may involve taking on responsibilities which don’t leave you in control of your leisure time; or it may simply be too arduous, and wear you out so that you have nothing left when you try to write. If this is the case, you may have some difficult choices to make: the most difficult is likely to be making the decision about how much income you really need. Once you’ve done this, you can make choices about the type of job that’s right for you. Jobs that are close to writing in some way: bookselling, working for a publisher, for a newspaper or a theatre – often provide a fertile and congenial environment for authors. Think about it. It’s not so much about giving up the day job as about making the day job work for you, the author, because, first and above all other things, that is who you are.



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Spotlight on Authoright – helping Lulu authors making their book-shaped dreams come true with new marketing and publicity services

Writing a book is true labour of love and an amazing achievement for anyone. It can be a very solitary experience however, and often, once the writing part has been completed, authors really want to talk about the process and to ask the all important question: what’s next for me and my book? Authoright began so that writers could do exactly that; ask questions and have a chat with like-minded publishing insiders who understood the business of books and could give them the right advice to help them publish and promote their books successfully. Authoright are passionate about supporting new writers who are indie-publishing. We’re a small team of hardworking book lovers, and we can help writers to complete the all-important steps to publishing and promoting their books that go far beyond the writing part. Cover design, editing services, website creation, multi-media services, publicity and marketing; we can help new writers to really find their voices and to connect with their audiences.

GarethAuthoright was founded in the early days of indie-publishing by a lawyer-turned author who was going through all the challenges of publishing and launching his debut novel. In 2004, Gareth Howard was trying to sell his first novel but soon discovered that traditional publishing was something of a closed shop; you couldn’t simply call or email a literary agent or a publisher to ask their advice. The process of securing the services of an agent, who then in turn had to sell the work to a publisher, was slow and frustrating and publishing houses were more inclined to work with celebrities rather than new talent. After lots of rejection. Gareth knew he had to try and figure out how to bring his book to market, on his own terms. So he decided to take a proactive step and turned to self publishing. This meant learning on the job, and having to quickly fine-tune the skills required to produce and publish a book professionally. Gareth effectively had to become his own agent, publisher, designer and publicist overnight.

With a bit of creativity and a lot of hard graft, Gareth produced a good-looking book and secured extensive media coverage – both for the book and for him as a writer and his experiences of self publishing at a time when it was almost unheard of – managing the publishing and PR process on a shoestring budget. Over a six month period, managing the production and launch of his book had become a full-time job! But Gareth’s efforts soon paid off and his novel became one of the earliest indie-publishing success stories, earning positive reviews and being featured in the national media in the UK, the USA and even Australia. Readers contacted him through his website to tell him how much they were enjoying his book and were sharing it with others (and this was at a time when social media barely even existed).

Gareth had learned first-hand how to produce and publicise a book on a budget and he wanted to share his experiences with other writers by creating a company that offered the kind of services he had found to be so important to the success of his own novel. And so Authoright was born, sharing advice, tips and tricks of the book trade, as well as providing effective and affordable editing, design, marketing and publicity services to unknown, first-time and self publishing authors. From how to write an elevator pitch, to media training ahead of a big interview, to creating an author brand; Authoright helps authors to make their books the best they can be without breaking the bank. Every author will make an investment in their writing if they want it to be a success, but finessing the book and supporting it with the right kind of services is important, rather than spending as much money as possible. Together we still speak to around 1,500 writers a year, listening to their questions and concerns about publishing, and helping them to find the best route for them to becoming a bestseller of the future.

Every author deserves a team of cheerleaders to help them bring their book to market. To supplement their writing abilities with expertise in cover design, editing, online marketing and publicity. Every author wants their book to be a success and Authoright can help authors find the right way for them to tell their own, labour of love story.

We’re thrilled to be able to work with Lulu,com and their help their awesome authors make their book-shaped dreams come true.


Announcing our new UK based Marketing and PR services to support indie-authors and small publishers

We are delighted to announce that we have launched a new UK based book and marketing service to support UK an Ireland based authors in helping to bring your works to a larger audience. We are delighted to have joined forces with Authoright who are a UK based marketing and publicity agency with strong industry links to help you build the buzz about your book.

We choose Authoright because we know that marketing and publicity ‘combined packages’ don’t work for every book and every author; sometimes only a flexible and bespoke campaign will work. Authoright offers a ‘pick and mix’ selection of services to help to get the pitch just right without breaking the bank. So if you are great at your own social media, for example, why pay for it again as part of a marketing package when you don’t have to.

By partnering with a UK based company you can be assured that they have their finger on the pulse of the UK publishing and promotion scene. And, since Authoright is UK based this means you can contact their publicists within UK working hours.

The new UK services can be viewed by visiting and selecting the United Kingdom or Ireland shopping carts as your preferred cart.

We will be regularly featuring success stories from authors using this service on this blog – be it a radio interview, book signing tour or an author that has just launched a great new website with cutting edge design we will be sharing these success stories. 

How does it work?

When you submit the marketing enquiry form it will be reviewed by Authoright staff who will contact you directly with more information on the services you are interested in together with their Terms and Conditions. You will naturally have a lot of questions. We try and capture as much information as we can so that the Authoright team can give you the best advice.

The Authoright team is very experienced with a good feel for which types of publications fail or succeed in the book market; they will assess your publication and give you their honest view of your possibilities for media success and if they feel that they can take your publication on and market it for you. They want the books they represent to be a success too.


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Introducing CL Bennett our award-winning guest author blogger

buggglepuffsAs 2017 kicks off we are delighted to have International award-winning children’s author CL Bennett, creator of the ‘Bugglepuff’ series with Lulu publishing, join us as a regular guest blogger. Over the forthcoming weeks CL will be sharing insights and tips on writing and publishing with us. If you have any specific questions for her please contact us as CL has also kindly agreed to be our agony aunt blogger! If you are interested in joining our author guest bloggers please contact us on as we would love to hear from you.

CL Bennett has already sold 1000’s of books online, gone on UK book tours, started Bugglepuff ‘fun days’ in 100’s of schools and libraries around the country, made audio recordings of her books with the famous actor Brian Blessed OBE and won children’s books awards in both the USA and Europe. For those of you keen to read the series these can be purchased direct from our online bookshop.

Taking 5 minutes out of her hectic schedule between writing and travelling she spoke to us about the magical world of the Bugglepuff series.

Hi CL ! So, would you mind telling us what the Bugglepuff series is about?

bugglepuffs2Jungle bedrooms, pirate treasure maps, a chocolate bath, little people with flying boots, a crazy parrot and a Magic Key can all be found in the first of a series of books about the Bugglepuff family.

Captain Bugglepuff, his mad wife Delirious and their four rascally children Anenome, Compass, Rocky and Seasea live a haphazard day to day family life in a little English fishing port in Devon, until the arrival of a mysterious crisp white letter in the post. Nothing in the Bugglepuff’s lives after this letter will ever be the same again.

It takes the Bugglepuff family to a new home by an enchanted creek that leads to a fantastical adventure in a world of magic where dreams can come true. But the family must be careful. Temptations takes the Bugglepuff children and their extraordinary animals on a series of dangerous quests for which the price of failure will break the family apart and the world as we know it!


Why did you start to write?

My family was the inspiration behind my award-winning book series ‘Bugglepuffs and the Magic Key’ and newly published through Lulu, ‘Bugglepuffs and the Magic Quest – PART 1’. My four hilarious children’s day to day dramas growing up gave me so many scrumptious stories, that after several years and a lot of persuasion from friends and family I felt it was time to put pen to paper and bring them to life in an animated adventure.

It’s the drama and excitement I can create as an author pubugs3tting my family into the world of the Bugglepuffs which is an absolute joy and delight. What will they do next? Who will play the lead role? Sometimes if one of my children does something naughty at home I make them do something terribly silly in the book to make me laugh!


What inspired you to write a children’s book in particular?

The natural choice was to write a children’s book that my own children could read for six to eleven-year-old boys and girls. But I think the whole family would enjoy the series and can laugh at the Bugglepuff family’s daily chaos and sometimes the dream of escaping to a new life full of magic and wonder! Heartily I wanted to write books to create tremendous worldwide fun and to send sparkles into the imaginations of children. If I can achieve a sprinkling of this, that would be gloriously special!

Where did the tremendous word ‘Bugglepuffs’ come from?

I was travelling home from school with the children last spring and I said to them, “Well if I’m going to write a book I need a name for the family. Our surname is Bennett so I think it should start with a B.” “a B,” they all said then ‘splat’ a bug hit our windscreen. ‘Bug,’ shouted my youngest son, they all laughed, followed by my oldest daughter replying, ‘Buggle’ and then my youngest daughter roared with giggles and screamed, “puff, puff puff.” At that moment, I nearly went into the hedge as I realised the animated family name had been born. That was the start of the ‘Bugglepuffs.

We hear that the character ‘Delirious Bugglepuff’ is based on yourself? What is the silliest thing that has ever happened to you?

Well there are many silly moments but I guess probably the funniest was when my kids were very young. I was very tired with sleepless nights and crying babies and I was ferociously late for school. I’d been folding up the washing and then raced out the door with pram in toe and whizzed up to school. I got to school with five minutes’ spare in a frazzled state but happy I’d made it on time. Suddenly I heard a laugh, followed by another laugh and another and I didn’t know what my friends were pointing at. I looked around then realised they were pointing at me, at my hair. In my rush to get to school I had left a fresh pair of twizzled up knickers in my hair. It was my most deliriously silly moment as a mum to date but one I’ll always happily remember and giggle about!

What makes creative writing so exciting for you and what else inspires you?

Oh, where to begin with this one! Creative writing is like having a canvas in front of me and putting hundreds of colours together through writing. My pen is like a paint brush. I want every child and every adult to see, touch, hear, smell and taste the magical world of the Bugglepuffs and travel excitedly on the adventure series with me.

Children are my inspiration and not in a corny way. They have the most sharp, unreserved minds and come out with such genuine and inspiring suggestions when you least expect it! This has led me to starting ‘Bugglepuff Fun Days’ in primary schools and it’s been like sitting in a bath of delicious ice cream! I love animating the children with creative writing, the joy of reading and the delights of dream bedrooms and chocolate doors. Taking their minds into a world of adventure is so much fun! For older children, I talk about my writing and publishing experiences so far, and in return the children ask me brilliant questions about what it’s like being an author and creating the Bugglepuffs. Fun is not enough of a word it should be ‘Fundeliciouslywonderfullystupendous!’

Join CL with her next blog when she will be talking about why she decided to indie publish and shares tips on how to overcome writer’s block!

Pitch Perfect: Pitching a Guest Post

For authors and writers who are just beginning to build an audience, guest posting an article on an established, related blog is an excellent means to expand your reach. Your post will be seen by a completely new audience who may then decide to follow your blog or maybe even purchase a book or two. The challenge for new writers is in finding sites with a dedicated readership related to your area of expertise that are also willing to accept unsolicited articles from an unknown writer. Therefore your pitch letter must be near perfect to catch the editor’s attention.


What is a Pitch?

In its purest form, a pitch includes:

  • An introduction: Who are you?
  • Relevance: How does your proposal fit with the existing audience?
  • Topics: What do you propose to write about?
  • Value: What benefit will readers get from the article?

Your pitch should not be a bulleted list, nor should it be an epic love poem in long form. Keep it brief, to the point, and grammatically correct. This is the one piece of your writing an editor is guaranteed to read. A convoluted, poorly composed, error-filled pitch does not make a good first impression.

Do Your Research

Spend some time reading, yes actually reading, the blog to which you intend to pitch your article. Look for existing topics you think can be expanded upon by your expertise or fresh outlook. While researching, take note of not only the subjects, but also the typical article length, their structure, tone, and use of imagery.

Also, a little investigative work on your part goes a long way in making sure your pitch is welcomed. Addressing an editor by the wrong name, wrong gender, or the generic “to whom it may concern” makes a terrible first impression. Find out as much as you can about the editor and their interests, then incorporate that information into your introduction to make a connection.

Get Their Attention

Based on these subject lines, which email would you open first?

Posting Inquiry

E-Reader Covers: What They Say About What You Read

Enough said.

Show Them What You’ve Got

Nothing gets a reader’s attention like effective imagery. You will get more notice with original work than from stock photos.

Be Patient

Depending on the blog’s popularity and posting scheduled, there may be a publishing calendar that is planned out for the next 10 days to two months. There is no need to follow up every day to see if the editor received the follow up you sent yesterday. If your article was accepted, the editor will let you know when it will go live.

While You Wait

It’s acceptable to write articles ahead of time while you wait for responses, but we recommend you do not publish them. If you plan to submit an article as a guest post, it should be an original post.

Don’t forget to compose an author bio that is accurate, succinct, and relevant to the audience. Include a link back to your blog or a link to your book page so that your potential new fans can find you.


If your article is accepted, tell all your friends, post about it on your blog and link to it from your social media sites – all of which boost your article’s search results and your online reputation. And, don’t forget to send a thank you note.

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How to Write a Killer Author Bio

You are a writer. Using your keyboard you can create an entire world, the people who live in it and the circumstances for all sorts of interesting things to occur. At peak production, you are churning out 500 to 1000 words a day. So why is it so difficult to write 100 words about yourself? It is, after all, a topic in which you are intimately familiar.

It is likely that you have not even considered your author bio until you are asked for the information from your cover designer. And, as a reader I don’t recall ever not buying a book due to an uninspired “About the Author” blurb. I have, however, upon completing an enjoyable book returned to the bio to learn more about the author – especially if I am interested in reading more of their work. When considered from this perspective, the author bio is really a marketing tool that allows your newest fans to connect with you, possibly leading to increased sales.

So how do you boil your life experience down to a concise and compelling blurb?

Start Big – Go Small

Let’s get the bad news out of the way first. You will need to create three author biographies:

  • Long form version for your website, interview sheets, and press releases that includes your age, location, credentials, background, inspiration, fun facts and contact information.
  • Medium length (approximately 250 words) version for queries, guest blogs, and marketing materials
  • Brief bio (approximately 50-100 words) for your book cover and social media profile

The good news is that once you have the long form version complete, it is much easier to edit it down to include the most relevant information based on the context in which the bio will be presented.

Who is your reader?

What’s relevant for inclusion in your author bio depends on your intended audience. An author bio is much like meeting someone at a party. You need to keep it brief, but memorable. Therefore only share the information your audience will find most interesting. Are you writing for an academic audience, summer beach readers, memoir enthusiasts, young adults, or children? An academic reader is probably not interested that you have four children just as a young adult reader will not fully appreciate the effort required to earn that long list of academic credentials listed behind your name.

Brag Selectively

Speaking of credentials, if your name is followed by a bowl of alphabet soup, choose the credentials most relevant to the work you are publishing. The same applies for multiple degrees, certifications, previous publications, articles, and awards. A PhD in astrophysics is impressive if you are publishing a book about the far reaches of the universe – not so much if you are writing a cookbook.

Imitation is the purest form of flattery

So, how do you know what to include in your author bio? Easy, just go online or to your local bookstore and take a look at a few books in your genre or field of study. When you find an appealing author bio, copy it substituting your information and voila! Author bio complete.

What makes you human?

While researching (see above) author bios, you will notice there is usually something included that differentiates the author from their fellows. They may be avid collectors of porcelain Chihuahuas, share their home with 15 hedgehogs, or live off the grid in the Scandinavian woods. This type of information sets you apart from other writers in your field. Other types of humanizing information include your locale or profession, but only if either plays a part in your work.

A picture is worth…..

You only get 50-100 words to share your life story on a book cover or flap. A good picture can help you tell it with fewer words. If you can afford it, have a professional head shot taken to include with your bio. If you can’t afford it, make sure the picture used is in an appropriate setting for your material, is in high resolution and prominently features your face –not your dog, not your car, not your collection of porcelain figurines. It’s called a head shot for a reason.

And finally

Use third person to refer to yourself and read your bio out loud before you publish it. You may choose to create several versions of your brief bio for use in articles, guest blogs, speaking introductions, interviews, and social media. Don’t forget, just as you would update your professional resume, periodically review and update your author bio to include new publications, awards, areas of expertise, and life changing events.

Guest Blogging: Building Your Online Reputation Using Someone Else’s Platform

Since joining the Lulu team, I have attended publishing trade shows around the country in an effort to keep up with industry trends. After a few years, I noticed a distinct pattern. Each year it seemed the industry latched onto a particular theme or buzzword around which all shows were organized. One of the first of these themes focused on the need for creating an author platform.


Once I learned what an author platform was, it seemed like a rather simple and logical approach to publicizing your work. All you need to do is set up a website, start a blog and interact with your fans on social media. Easy right? According to the experts, an author platform makes current fans feel connected to the author while at the same time attracting new readers thereby ensuring a steady flow of money into an authors’ bank account.

The thinking here is solid.  If we conduct a quick online study we will find most successful, independently published authors already have an author platform in place – likely built by a member of their publishing team (another year’s theme). If you conduct a search for these authors on the internet, not only would their books be returned in the search results, but also links to their social media pages, discussion boards, blog posts, and articles – all of which contribute to their online reputation.

Guest Bloggers Welcome

For new authors the question then becomes, “How can I get some of this search engine goodness for myself?” If you don’t have access to a social media team or a neighborhood kid to build your website, the easiest option is join a few discussion groups or to make use of another person’s platform by guest blogging. Both of which give you an opportunity to reach new audiences.

You may respond “I don’t write for free.” Well, yes you do. You write for free until someone buys your book. Once enough people have bought your book you can set your own price for articles. Until then, your best bet is to find a site that appeals to your target audience and pitch them an article. Most bloggers are constantly on the lookout for new material. So much so they will even let you plug your book in return for free, compelling content..

This strategy is a win/win for everyone. The site owner gets content to fill their pages.  You get more search hits, a new audience for your work, free advertising, and a bump in your online reputation score.

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