I BECAME COM­PLETE­LY OBSESSED WITH E‑BOOKS and I quick­ly found tuto­ri­als on YouTube and taught myself how to mas­ter the tini­est detail in their design with hand-cod­ed css. I opened a busi­ness account on Ama­zon began to upload com­plet­ed vol­umes to KDP and Cre­ate­Space, that meant that I also had to learn how to lay tra­di­tion­al books out by myself on my com­put­er with Adobe InDe­sign, because before then; I had always relied on oth­ers to help me with layout. 

In Edi­to­r­i­al Indie, I most­ly did free­lance work for authors who self-pub­lish and worked most­ly on prac­ti­cal books and kin­dle novel­las that were some­what pop­u­lar on Ama­zon. Inde­pen­dent­ly, I pub­lished a hand­ful of clas­sics like The Epic of Gil­gamesh, The Divine Com­e­dy, the two Sher­lock Holmes col­lec­tions and my own 2007 poet­ry col­lec­tion, Con­fla­gración Caribe, that the Nicaraguan Min­istry of Cul­ture had sponsored.

NEW AND TRA­DI­TION­AL LIT­ER­ARY PUB­LISH­ING SER­VICES
One of the more reward­ing goals in pub­lish­ing is to improve on the work of authors and to become bet­ter edi­tors. The pub­lish­ing ser­vices that I offer my clients are engi­neered to go beyond what peo­ple think are the tra­di­tion­al scope of small press pub­lish­ing and retail. I like to make sure that I always include infor­ma­tion-age first neces­si­ties like trans­la­tions, e‑book and audio book devel­op­ment, dig­i­tal mar­ket­ing and glob­al distribution.

TAL­ENT MAN­AGE­MENT
This wide-rang­ing set of ser­vices con­sist of pro­vid­ing sup­port for authors and oth­er actors through a vari­ety of chan­nels that include grants, pri­vate spon­sor­ship, pre-sales and crowd­fund­ing. It main­ly focus­es on find­ing lit­er­ary agents and pub­lish­ing hous­es for clients that stand to see remark­able eco­nom­ic returns on a manuscript.

DEVEL­OP­MENT EDI­TION
Devel­op­ment edit­ing is a ser­vice that applies in-depth knowl­edge of writ­ing and lit­er­a­ture and is done before edit­ing. It ensures that the book has a log­i­cal order and can also address uncon­ven­tion­al lit­er­ary struc­tures that range from the non­lin­ear, to the frag­men­tary, psy­cho­log­i­cal, mag­i­cal real­ism, stream-of-con­scious­ness, and indi­rect freestyle.

Devel­op­ment edit­ing eval­u­ates and ana­lyzes a book’s struc­ture and genre con­ven­tions to sug­gest improve­ments or missed oppor­tu­ni­ties. A devel­op­ment edi­tor makes sure there is clar­i­ty; it means that the book actu­al­ly says what it is sup­posed to say. Anoth­er busi­ness is mak­ing sure the plot is actu­al­ly there and exe­cut­ed bril­liant­ly. They also coach writ­ers and make sure they exceed their pre­vi­ous efforts.

COPY­EDIT­ING
Copy edit­ing (also known as man­u­script edit­ing) is the process of revis­ing writ­ten mate­r­i­al to improve read­abil­i­ty and fit­ness, as well as to ensure that the text is free from gram­mat­i­cal errors and fac­tu­al. It is com­mon to apply a style man­u­al to copy editing.

Man­u­script edit­ing encom­pass­es sim­ple mechan­i­cal cor­rec­tions (mechan­i­cal edit­ing) through sen­tence-lev­el inter­ven­tions (line, or styl­is­tic, edit­ing) to sub­stan­tial edit­ing work on lit­er­ary style and clar­i­ty, dis­or­ga­nized pas­sages, jerky prose, con­fused tables and fig­ures, etc. In a print pub­li­ca­tion, copy edit­ing is done before type­set­ting and again before proofreading.

PROOF­READ­ING
A “gal­ley proof” (col­lo­qui­al­ly, “a proof”) is a ver­sion con­sist­ing of a copy or hand­writ­ten doc­u­ment. They may con­tain typo­graph­i­cal errors (“print­ing errors”), result­ing from human error dur­ing type­set­ting. Tra­di­tion­al­ly, a proof­read­er exam­ines a text incre­ment on the copy, com­pares it to the cor­re­spond­ing type­set­ting incre­ment, and then marks any errors (some­times called “line changes”) using stan­dard proof­read­er marks.

Unlike copy edit­ing, the pro­ce­dure for defin­ing a proof­read­ing ser­vice is to work direct­ly with two sets of infor­ma­tion at the same time. The proofs are then sent back to the type­set­ter for cor­rec­tion. Mark­ing cycle proofs will gen­er­al­ly have a descrip­tive term, such as “bounce”, “boost” or “revise” unique to the depart­ment or orga­ni­za­tion and used for clar­i­ty to the strict exclu­sion of any others.

It is cus­tom­ary for all these cor­rec­tions, how­ev­er slight, to be sent back to a proof­read­er to be checked and ini­tialed, thus estab­lish­ing the prin­ci­ple of greater respon­si­bil­i­ty for proof­read­ers in rela­tion to their com­posers or artists.

LIT­ER­ARY CRIT­I­CISM
Mod­ern lit­er­ary crit­i­cism is often influ­enced by lit­er­ary the­o­ry, which is the philo­soph­i­cal dis­cus­sion of the pur­pos­es and meth­ods of lit­er­a­ture. Although the two activ­i­ties are close­ly relat­ed, lit­er­ary crit­ics are not always and have not always been theoreticians.

As a ser­vice, this means writ­ing reviews, essays and pro­logues for the lit­er­ary works we pub­lish. These dif­fer­ent forms of reviews will be pub­lished in lit­er­ary jour­nals, news­pa­pers, aca­d­e­m­ic jour­nals and web pages where the lit­er­ary work in ques­tion is sold.

LIT­ER­ARY TRANS­LA­TIONS
Lit­er­ary trans­la­tion con­sists of the trans­la­tion of poet­ry, plays, lit­er­ary books, lit­er­ary texts, as well as songs, nurs­ery rhymes, lit­er­ary arti­cles, fic­tion­al nov­els, nov­els, short sto­ries, poems, etc To trans­late from one lan­guage to anoth­er is to trans­late a cul­ture. In lit­er­a­ture, the form is as essen­tial to pre­serve as the con­tent. If the form is not pre­served, nei­ther is the poetry.

In the trans­la­tion of lit­er­ary texts, puns, allu­sions, analo­gies, allit­er­a­tions, fig­ures of speech and metaphors will always have to be dealt with effec­tive­ly. As a free­lancer I offer trans­la­tions to and from French, Eng­lish and Spanish.

BOOK COV­ER DESIGN
Unfor­tu­nate­ly, every­one will judge a book by its cov­er. One might think that an author inca­pable of dis­play­ing good aes­thet­ic taste in the choice of the visu­al image which rep­re­sents his work is also unpleas­ant in the poet­ics applied to the weav­ing of the lin­guis­tic struc­tures of his sen­tences, para­graphs and pages; as well as oth­er aspects of the lit­er­ary art­work like char­ac­ter devel­op­ment, sto­ry and cul­tur­al references.

A good cov­er will clear­ly con­vey the most­ly await­ed genre con­ven­tions and appeal to a deep sub­con­scious semi­o­sis that tar­get con­sumers appre­ci­ate and that play def­i­nite­ly equates to sales.

BOOK LAY­OUT AND E‑BOOK FOR­MAT CON­VER­SION
Just like a print­ed book, an e‑book is also an aes­thet­ic arti­fact. Many e‑books are in html for­mat con­vert­ed to mobi and/or epub for­mats with work­ing tables of con­tents. But there are many more pos­si­bil­i­ties as far as read­er expe­ri­ence is con­cerned; Kin­dle has cre­at­ed a plu­g­in that can con­vert from pro­fes­sion­al page lay­out soft­ware. It is there­fore pos­si­ble to have all the fea­tures that the most styl­ized mag­a­zine has, on both readers—in gray scale or color.

PRINT-ON-DEMAND SER­VICES
Print-on-demand is the most viable option for free­lance and first-time writ­ers; because it saves mon­ey, min­i­mizes risk, sat­is­fies read­ers who refuse to use e‑readers, and can still save more trees than the tra­di­tion­al print edi­tion. There are many sites online for print­ing books on demand. Inde­pen­dent edi­to­r­i­al pro­fes­sion­al lay­outs are suit­able for all types of print pub­lish­ing and meet all the tech­ni­cal spec­i­fi­ca­tions required by any print-on-demand provider.

E‑COMMERCE
My jour­ney as an inde­pen­dent pub­lish­er began with an Ama­zon busi­ness account, I was born in ecom­merce. I have gained all my expe­ri­ence tack­ling every bug, tech­ni­cal issue and grow­ing with the plat­form for almost ten years. At the same time I have built WooCom­merce and Shopi­fy stores on the Inter­net and sold mer­chan­dise on Gear­bub­ble and Spring. I am absolute­ly sure that I can take your pub­lish­ing project to new high­ts and ensure your on-going success.

DIG­I­TAL MAR­KET­ING
Dig­i­tal mar­ket­ing cov­ers all mar­ket­ing activ­i­ties deployed online to enter into a rela­tion­ship with cus­tomers or prospects, such as, for exam­ple, main­tain­ing a web­site or blog, social net­works, or dig­i­tal adver­tis­ing. We believe in engag­ing read­ers wher­ev­er they are on the inter­net, whether that means hav­ing a state-of-the-art web­site with an effec­tive SEO strat­e­gy or a real social media pres­ence. We will also invest heav­i­ly in big data, email mar­ket­ing and mul­ti­me­dia con­tent pro­duc­tion to ensure we get the most out of our lit­er­ary offering.

BOOK TRAIL­ERS
They’re like trail­ers for films, they present a rough cut of a books plot and cater to all the reader’s favorite genre con­ven­tions. These will be shown in book pre­sen­ta­tions and oth­er book events and uploaded to major video stream­ing and social media plat­forms for peer-to-peer and seg­ment­ed dig­i­tal mar­ket­ing audi­ences, in order to pro­mote sales and gen­er­ate inter­ests in new lit­er­ary works.

VIDEO POET­RY
These will be short films that are also poems, this idea works the way a book trail­er does in many respects how­ev­er is whol­ly unbound to the movie trail­er struc­ture and con­ven­tions. These films are art films that hold poet­ry as a cen­tral idea for the act of cre­ation. They may be silent and allow cin­e­mat­ic lan­guage to recite poet­ry to the view­er through its own codes.

EVENT VIDEO SER­VICES
These range from neat­ly pack­aged Zoom video con­fer­ences with vignettes, brand­ing, musi­cal scor­ing, cred­its and oth­er com­put­er-gen­er­at­ed con­tent to doc­u­men­tary-style pro­duc­tions of lit­er­ary events that can take place any­where. These are promi­nent on YouTube and are just what a read­er needs when you want to lis­ten to Harold Bloom review Ham­let, or watch an old Juan Rul­fo inter­view on A Fon­do, or per­haps Noam Chom­sky debate Michel Fou­cault in La Sorbonne.

AUDIO BOOKS
This ser­vices can include well-loved voice tal­ents and is tru­ly the next big thing in pub­lish­ing. There are many unsaid things in regards to the devel­op­ment of this prod­uct and my hope is to invest in research and devel­op­ment in mak­ing this very promis­ing ser­vice more acces­si­ble to inde­pen­dent and first-time authors.

THE DIS­SEM­I­NA­TION OF LIT­ER­ARY WORKS
In this ser­vice, we put lit­er­ary works into the hands of read­ers in the vir­tu­al and phys­i­cal world and this includes par­tic­i­pa­tion in lit­er­ary and start-up events, such as book mar­kets, book fairs, school read­ings, uni­ver­si­ties and libraries, and start­up exhi­bi­tions through­out France, the rest of Europe, the UK, the US and Canada.