European Book Publishing compared to American Publishing

 

Publishing Across the Atlantic: How European Book Publishing Differs from American Publishing

By Butch Gray | Giftkone Publishing

What independent authors should know about European book markets, bookstore protections, pricing laws, and selling internationally.

Publishing a Book Is One Thing. Selling It Around the World Is Another.

One of the things I've learned during my self-publishing journey is that getting a book written, edited, and published is only part of the job.

The other part, and sometimes the more difficult part, is getting that book into the hands of readers.

I've written before about the importance of book distribution. I believe distribution can be every bit as important as writing, editing, and publishing a manuscript.

After all, what good is having a published book if the people who might enjoy reading it never know it exists?

Amazon Kindle Direct Publishing (KDP) has opened doors for independent authors that were once difficult, expensive, or nearly impossible to enter.

Today, an American self-published author can make a book available to readers in the United Kingdom, France, Germany, Italy, Spain, and several other international markets without establishing a publishing company in each country.

That's quite an opportunity.

But something occurred to me while considering the advantages of international distribution.

Just because Amazon allows me to sell my books in another country doesn't mean publishing works the same way there as it does here in the United States.

So I decided to take a closer look at how European publishing differs from American publishing.

What I discovered was especially interesting when it came to the laws governing book prices and the protections some European countries provide for independent bookstores.

Those differences may offer important lessons for American independent authors, publishers, and booksellers.

Europe Isn't One Big Publishing Market

The first thing an American author should understand is that Europe isn't a single publishing market.

It's a collection of countries with different languages, economies, cultures, publishing traditions, and laws.

Publishing a book in the United Kingdom isn't necessarily the same as publishing one in France, Germany, or Italy.

Even though these countries share many similarities, their approaches to selling books can be quite different.

In the United States, an author is primarily dealing with one enormous English-language market.

According to the Association of American Publishers, U.S. publishing revenue reached approximately $33.4 billion in 2025, including books and educational course materials.

That's a substantial industry with a large potential readership.

American publishing is also highly consolidated, with the traditional trade publishing business heavily influenced by five major publishing groups, commonly called the Big Five.

Europe also has major multinational publishing companies, including some operating on both sides of the Atlantic, but its markets are divided by language and national boundaries.

The United Kingdom is particularly important for English-language publishing, while countries such as France, Germany, Spain, and Italy have substantial publishing industries serving readers in their native languages.

For an American independent author, that means an English-language edition may reach some European customers immediately, but reaching a broader audience could eventually require translation and marketing designed for individual countries.

International distribution makes your book available. International marketing helps make readers aware of it.

There's a big difference between the two.

The American Bookstore: Competing on Price

One of the most interesting differences I discovered involves how books are priced and sold.

In the United States, publishers generally establish a suggested retail price for their books.

But retailers often have considerable freedom to discount those books.

A book with a suggested retail price of $20 might sell for $18 at one store, $15 at another, or even less during a promotion.

Large retailers sometimes use heavily discounted products to attract customers, knowing those customers may purchase other merchandise.

This is sometimes called a loss-leader strategy.

For a giant retailer, discounting a popular book may be an affordable marketing decision.

But what about the independent bookstore down the street?

A small bookstore has rent, utilities, employees, inventory costs, and other expenses to cover.

It usually cannot purchase inventory in the same quantities or negotiate the same commercial arrangements as a much larger competitor.

And it may not be able to absorb the financial impact of deep discounts.

So when a major online retailer dramatically reduces the price of a bestselling book, the neighborhood bookstore may find itself competing against a price it simply cannot afford to match.

That doesn't mean every large retailer is selling books at a loss, or that every independent bookstore is struggling.

But it does demonstrate how pricing competition can place pressure on smaller businesses.

And that brings us to something rather different happening in parts of Europe.

Europe's Fixed Book Price Laws: Protecting the Neighborhood Bookstore

In several European countries, books are treated as more than ordinary commercial merchandise.

They are also considered important cultural products.

And in some countries, that belief has influenced the laws governing how books can be sold.

France provides one of the best-known examples.

In 1981, France established what is commonly called the Loi Lang, a law regulating book prices.

Under this system, publishers or importers establish the retail price of a book, and booksellers generally cannot discount it by more than 5%, subject to certain exceptions.

Consider what that means.

If a new book has a French retail price of €20, a bookstore generally cannot sell it for less than €19 under the ordinary discount rule.

And a large online retailer cannot simply cut that same book's price in half to attract customers.

The law helps create a more level playing field between small independent bookstores and large retail operations.

Germany also has a fixed book price system, while Italy and several other European countries have their own book-pricing regulations.

The details differ from country to country, and not every European nation has a fixed book price law.

But the underlying idea is worth considering.

Instead of allowing the biggest retailer to determine who survives through aggressive discounting, these laws try to preserve competition through service, selection, convenience, and community relationships.

Of course, fixed pricing has its critics.

Consumers may pay more than they would in an unrestricted discount market, and booksellers have less flexibility when deciding how to promote certain titles.

Still, the laws reflect a cultural decision that independent bookstores have value beyond the number of books they sell.

Why Would a Government Want to Protect Bookstores?

At first, I wondered why a government would involve itself in something as ordinary as the retail price of a book.

Then I began considering what happens when a community loses its last independent bookstore.

A bookstore isn't necessarily just another retail business.

It can be a place where young readers discover their first favorite author.

It can provide opportunities for local writers to introduce their work.

It can host book discussions, author appearances, children's reading activities, and educational events.

And it can make room on its shelves for books that might never become national bestsellers.

The French approach recognizes these cultural contributions.

The stated goals of its book-pricing legislation include making books available throughout the country, maintaining a geographically diverse bookstore network, and supporting diversity in publishing.

That's an interesting way of looking at the book business.

Instead of focusing exclusively on which retailer can offer the lowest price, the system also considers the cultural value of maintaining many places where books can be discovered.

For independent authors, that could be important.

A healthy network of independent bookstores creates additional opportunities for readers to discover books outside the biggest commercial marketing campaigns.

But we should also recognize that fixed prices don't automatically guarantee a bookstore's survival. Rent, wages, inventory management, online competition, and changing reading habits still matter.

What About the United Kingdom?

The United Kingdom offers an important reminder that we shouldn't treat every European country as though it operates under the same publishing laws.

Britain once had a book-pricing arrangement called the Net Book Agreement.

That agreement effectively restricted discounting on many books for much of the twentieth century.

However, it collapsed in the 1990s and was formally ruled contrary to competition law in 1997.

Today, British booksellers generally operate in a competitive pricing environment more similar to the United States than to France or Germany.

British publishers and booksellers still have their own traditions, release schedules, customer expectations, and business practices.

But a uniform European book-pricing system simply doesn't exist.

This is one reason an American author should study individual countries rather than treating Europe as one destination.

Taxes Can Also Make a Difference

Another interesting difference involves taxes on books.

In the United States, books may be subject to state and local sales taxes depending on where the purchase occurs and the applicable laws.

In Europe, many countries use a Value Added Tax, commonly called VAT.

But the tax rate applied to books can be lower than the rate applied to ordinary merchandise.

For example, qualifying printed books in the United Kingdom generally receive a 0% VAT rate.

Qualifying electronic publications also receive zero-rated treatment, although certain items, such as many audiobooks and products designed primarily to be completed rather than read, are treated differently.

In France and Germany, qualifying books generally benefit from reduced VAT rates rather than the standard rates applied to many other products.

For independent authors publishing through KDP, taxes matter when establishing a selling price.

Amazon's KDP pricing system accounts for applicable VAT, and the final customer-facing price may differ from the price an author enters.

This is particularly important when you're trying to keep your book affordable while earning enough royalties to justify your publishing expenses.

A book's selling price in another country isn't always a simple currency conversion of its American price.

Different Markets, Different Book Designs

There are also physical and artistic differences between American and European books.

In the United States, many self-published authors are familiar with paperback trim sizes such as 5 × 8 inches, 5.5 × 8.5 inches, and 6 × 9 inches.

These formats are common for novels, biographies, memoirs, and other trade books.

British publishers frequently use paperback categories such as A-format and B-format, along with larger trade paperback sizes.

Consequently, a book published in both countries may appear in slightly different dimensions.

Cover designs can also vary.

Publishers sometimes create completely different covers for the American and British editions of the same book.

One edition might emphasize characters or dramatic illustrations, while another relies on typography, symbolism, or a more restrained visual approach.

Neither style belongs exclusively to one country.

The important point is that publishers often tailor covers to the expectations of the readers they hope to attract.

And that's something independent authors should consider when marketing internationally.

A cover that attracts attention in one market may not produce the same response in another.

Even English Doesn't Always Mean the Same English

American and British readers share a language, but that doesn't mean they always use it in exactly the same way.

Consider a few familiar examples.

American English	British English
Color	Colour
Favorite	Favourite
Apartment	Flat
Elevator	Lift
Truck	Lorry
Vacation	Holiday

A publisher preparing separate American and British editions may adjust spelling, punctuation, vocabulary, or cultural references.

Of course, not every book requires this kind of localization.

In fact, when it comes to memoirs, I would be particularly careful about altering the storyteller's original language.

If I were writing about growing up in San Francisco, I wouldn't necessarily want my American expressions replaced simply because the book was being sold in Britain.

Those expressions are part of the story's identity.

But for instructional books, educational materials, and certain nonfiction publications, localization might help readers understand the material more comfortably.

Once again, the decision depends on the audience.

Do European Authors Earn as Much as American Authors?

This is another area where comparisons become complicated.

The United States has an enormous English-language reading market, and major American publishing houses can sometimes offer substantial advances for books with strong commercial potential.

European authors may work within smaller language markets.

A book published in one European country might have a smaller potential readership until translation rights are sold elsewhere.

As a result, advances can differ significantly.

But it would be misleading to suggest that all European advances are smaller or that American authors automatically earn more.

The amount depends on the author, genre, publisher, projected sales, contract terms, and the markets included in the publishing agreement.

European publishers also participate in a substantial international rights business.

Book fairs such as those held in Frankfurt and London provide opportunities for publishers, literary agents, and rights representatives to negotiate translation and international publication agreements.

For independent authors, these differences highlight an important opportunity.

A book that appeals to one national market might also appeal to readers in another country, particularly when its subject has historical, cultural, educational, or international significance.

But reaching those readers may require more than making the book available through an online retailer.

Publishing Schedules and Marketing Traditions

Even the days on which new books are released can differ.

In the United States, Tuesday has long been a traditional release day for many major trade publishers.

In the United Kingdom, Thursday has commonly served a similar purpose.

These are industry customs rather than universal rules.

Independent authors using print-on-demand services are not necessarily required to follow either schedule.

The same variation applies to marketing.

Advance reader copies, sometimes called ARCs, are distributed to reviewers, booksellers, and other interested parties before publication.

American and British publishers may package these promotional editions differently, sometimes using finished cover artwork and sometimes using simpler temporary designs.

But the purpose is essentially the same.

They want readers, reviewers, booksellers, and other influential people to know about the book before it officially reaches the market.

Something independent authors can learn from both markets is the importance of preparing the audience before publication.

Amazon KDP Opens the Door, But It Doesn't Do All the Work

For me, this is where the subject becomes especially important.

One of the attractive features of Amazon KDP is the opportunity to distribute books through several international Amazon marketplaces.

An American author can establish book prices in different currencies and potentially reach customers far beyond the United States.

But international availability isn't the same as international success.

There are still some important questions independent authors need to consider.

• Pricing: Is the book competitively priced after currency differences, production costs, and applicable taxes?

• Language: Can the intended audience comfortably read the book, or would a translated edition be useful?

• Cover design: Does the presentation appeal to readers in the target country?

• Book format: Are the dimensions and presentation appropriate for that market?

• Promotion: How will readers in another country discover the book?

• Bookstore distribution: Can local bookstores order the title through their regular suppliers, and are the wholesale terms attractive enough for them to stock it?

That last question deserves particular attention.

Listing a paperback on Amazon doesn't guarantee that independent bookstores in France, Germany, or Britain will carry it.

Traditional booksellers often rely on established wholesale distribution systems and may expect commercial discounts, return options, and other terms that are not automatically supplied by a standard KDP listing.

An independent author hoping to reach brick-and-mortar bookstores should investigate appropriate distribution arrangements rather than assume that Amazon availability solves the problem.

For someone interested in building an international readership, these are practical matters worth understanding before spending money on promotion.

A Special Consideration for Coloring Books and Activity Books

Independent authors who publish activity books, coloring books, journals, and similar products should pay special attention to international requirements.

Although these products may resemble ordinary printed books, tax authorities don't always classify them the same way.

Some countries apply different VAT rules depending on whether a publication is intended primarily for reading, coloring, writing, or completing exercises.

A standard paperback memoir and a children's activity book may therefore receive different tax treatment.

For authors publishing more than one type of book, it's worth reviewing the classification of each product rather than assuming every title qualifies for the same tax benefits.

Could America Learn Something from European Bookstores?

I don't believe every European publishing practice would necessarily work in the United States.

Our country has a different retail history, a different legal environment, and a different relationship between publishers, booksellers, and consumers.

There are benefits to competitive pricing.

Lower book prices can make reading more affordable and accessible to people who might otherwise be unable to purchase the books they want.

That's important.

At the same time, there is something appealing about a system designed to help small, independent bookstores remain competitive.

I would hate to see a future where readers have fewer opportunities to browse bookshelves, speak with knowledgeable booksellers, discover local authors, or attend events at neighborhood bookstores.

And I believe independent authors should care about that possibility too.

Every bookstore that closes represents one less potential place where an unfamiliar author might find a new reader.

Perhaps the question isn't whether the American or European system is entirely right or wrong.

Perhaps the more useful question is whether we can preserve affordable access to books while also maintaining a healthy network of independent booksellers.

I suspect that balancing those goals will remain a challenge on both sides of the Atlantic.

My Final Thoughts: Think Internationally, But Publish Locally

What started as my curiosity about Amazon KDP's international distribution possibilities turned into a much larger lesson about publishing.

The world has become more connected, but readers still live within their own cultures, languages, and economic environments.

A self-published book may be available internationally with only a few publishing decisions.

But that doesn't mean the same marketing approach will work everywhere.

Europe offers examples of how different countries approach book pricing, cultural preservation, local bookstore support, taxation, and international rights.

America offers a large unified English-language market with powerful distribution networks and considerable retail pricing flexibility.

Both systems have advantages and disadvantages.

For independent authors, I believe the smartest approach is to learn from both.

Understand the country where you're trying to sell your book.

Research its readers.

Review its pricing and tax considerations.

Study its book-buying traditions.

And remember that making a book available is only the beginning of building an international audience.

The internet has made it easier for independent authors to publish globally. But understanding local markets may be what helps us sell globally.

After all, writing a good book is one accomplishment.

Finding the readers who will appreciate it, wherever they happen to live, is another.

---

A Question for My Readers

Have you ever purchased a book from a European publisher or noticed differences between American and British editions of the same book?

If you're an independent author, have you explored selling your books through Amazon's international marketplaces?

And here's another question worth considering:

Should America do more to protect independent bookstores from aggressive price competition, as some European countries have done? Or should book prices remain entirely competitive?

I'd be interested in hearing your thoughts.

Share your experiences or opinions in the comments below.

For more discussions about writing, self-publishing, book distribution, and marketing, I invite you to explore the other articles here at Giftkone Publishing.

Keep writing, keep learning, and remember that publishing your book is only the beginning of its journey.

Butch Gray
Giftkone Publishing

The following official resources support the key facts in this post.

• French Ministry of Culture — Book Pricing Laws. Explains France's fixed book price system and its goals for protecting access to books and maintaining bookstores.

  

  Ministère de la Culture

• Germany's Book Price Fixing Act. Describes the German legal framework for regulating book prices.

  

  Gesetz über die Preisbindung für Bücher

• Amazon KDP — European and UK Book Taxes. Explains how VAT affects print book prices in European marketplaces.

  

  Amazon Kindle Direct Publishing

• Amazon KDP — Expanded Distribution. Explains how eligible paperback titles can become available to distributors serving bookstores and libraries, without guaranteeing orders.

  

  Amazon Kindle Direct Publishing

• Association of American Publishers — 2025 Industry Revenue. Provides the latest annual revenue figures used in the article, published August 10, 2026.

  

  AAP

This Blog Post connects directly to an earlier post on book distribution and ISBN ownership, and illustrates why independent authors need to think beyond simply uploading a manuscript to Amazon. Each country represents not only a potential new readership but also a different set of publishing expectations and commercial opportunities.

Can ChatGPT Be Your Ghostwriter?

 

Can ChatGPT Be Your Ghostwriter? The Human Touch Behind Telling Your Story

By Butch Gray | Giftkone Publishing

Should you hire a human ghostwriter, use artificial intelligence, or write your own story with a little help from both?

Everybody Has a Story, But Not Everybody Wants to Write a Book

One of the questions I've been asked lately is whether ChatGPT would make a good ghostwriter for someone wanting to write a book, particularly a memoir.

It's a fair question, especially today, when artificial intelligence can produce a chapter, an outline, or even an entire manuscript from a collection of notes and instructions.

But just because technology can write something doesn't necessarily mean it can tell your story the way you would want it told.

I have some personal experience with this subject. In fact, my first major writing project after moving away from screenwriting was ghostwriting my mother's memoir.

That experience taught me something important about writing another person's life story, something I believe remains just as important today, even with all the advances in artificial intelligence.

A ghostwriter's job isn't simply to put words on paper. It's to help someone tell a story that belongs to them.

And sometimes, knowing what not to write can be just as important as knowing what to include.

My First Experience as a Ghostwriter

When I began working on my mother's memoir, ChatGPT didn't exist. There was no artificial intelligence waiting for me to enter a few paragraphs and request a completed chapter.

My mother had suffered a stroke that robbed her of her ability to write. She still had her memories, her stories, and her desire to share them, but she could no longer put those memories on paper herself.

I was fortunate enough to be in a position to help.

She would tell me about her childhood, her family, the people she knew, and the places she remembered. My job was to take what she told me and turn those memories into a readable manuscript.

In many ways, my job was fairly simple. I wasn't being asked to invent characters, create fictional adventures, or develop an imaginary world.

I was being asked to listen.

I needed to describe the people, places, and things she remembered and make certain those descriptions represented the world as she experienced it.

Much of her story took place during the 1940s and 1950s, so I did some historical research to better understand the times she was describing.

But I also had another valuable resource.

Family members who were there.

Several of my older aunts were still around, and they remembered many of the same people, places, and events my mother talked about.

Of course, remembering the same event doesn't always mean remembering it the same way.

Whose Memory Is the Right Memory?

One of the more interesting experiences I had while working on my mother's memoir involved a disagreement over something as simple as the name of her childhood dog.

My mother remembered one name. One of my aunties remembered another.

Now, how was I supposed to resolve that?

Both women had lived during the same period. Both were remembering something from their childhood. And both believed their memories were correct.

I eventually established a rule for myself.

When there was a conflict between my mother's memory and someone else's, I deferred to my mother.

Why?

Because I wasn't writing my aunt's memoir.

I was writing my mother's.

That doesn't mean the other person's recollection was necessarily wrong. It simply means that my mother's experiences, her memories, and her understanding of those experiences were the foundation of the book.

If historical research revealed an important factual error, that was something we could discuss and address. But when two family members remembered a personal detail differently, I wasn't going to allow someone else's recollection to automatically replace hers.

And that brings me to something I believe is particularly important when discussing ChatGPT as a ghostwriter.

A memoir isn't merely a collection of historical facts. It's the story of someone's life as they remember, understand, and experienced it.

A computer may help organize those memories, but the memories themselves belong to a human being.

What Exactly Does a Ghostwriter Do?

A ghostwriter is someone hired or otherwise engaged to write a manuscript for another person, usually with the understanding that the person whose story is being told will receive the author credit.

Ghostwriters are used for all kinds of publications, including:

• Memoirs and autobiographies

• Family histories and biographies

• Business books and personal success stories

• Historical and nonfiction books

• Novels and other creative writing projects

A good ghostwriter does much more than take dictation.

They interview their clients, ask questions, research historical details, organize information, and develop a manuscript that reflects the personality and intentions of the person whose name will appear on the book.

They may recognize emotional significance in a seemingly ordinary memory and ask the kind of follow-up question that brings an entire scene to life.

For example, imagine someone describing the day they left home for the first time.

A human ghostwriter might ask:

Were you excited? Were you frightened? Did your mother say anything before you left? Did you ever look back at the house?

Those questions can reveal the feelings behind an experience.

And while ChatGPT can also suggest questions like these, it doesn't know what that particular goodbye felt like until someone tells it.

That distinction matters to me.

Can ChatGPT Really Ghostwrite a Book?

The short answer is yes.

ChatGPT can help create a manuscript from notes, interviews, recorded memories that have been transcribed, outlines, and other information supplied by the person directing the project.

It can turn a collection of disconnected recollections into an organized draft. It can suggest chapter titles, improve descriptions, rewrite confusing passages, and help maintain a consistent writing style.

For someone who has a lifetime of stories but struggles with putting them on paper, those abilities could be extremely valuable.

Imagine an elderly person who wants to leave a family history for their grandchildren.

That person might record stories about growing up, attending school, meeting a spouse, raising children, or living through important historical events.

Those recordings could be transcribed and, with the person's guidance, organized into chapters using ChatGPT.

What once required a ghostwriter, editor, and perhaps someone to transcribe hours of conversations can now be assisted by a relatively inexpensive technology.

For people who cannot afford to hire a professional ghostwriter, this opens a door that might otherwise remain closed.

But there is a difference between having ChatGPT help you write your story and allowing ChatGPT to decide what your story should be.

And that's where I begin to have reservations.

What a Human Ghostwriter Brings to the Table

Personally, I still believe a good human ghostwriter has advantages that artificial intelligence cannot fully duplicate.

A human ghostwriter brings a lifetime of personal experiences to the work.

They understand what it means to lose someone they love, feel disappointment, experience joy, raise a family, confront hardships, or look back on a life filled with both success and regret.

They can recognize emotional significance because they have experienced emotions themselves.

That doesn't mean every human ghostwriter is a great storyteller. Far from it.

But a skilled human ghostwriter can develop a personal relationship with the person whose story is being told.

They can notice hesitation in someone's voice, recognize when a memory is painful, or sense that an important part of a story has been left unsaid.

Sometimes the most revealing moment during an interview isn't the answer to a question.

It's the silence that follows it.

ChatGPT can generate compassionate language and suggest thoughtful interview questions, but it doesn't have human memories, family relationships, or lived emotional experiences of its own.

It produces responses based on patterns learned during training and the information provided to it.

A human ghostwriter can also draw on personal judgment and experience to decide when to ask another question, when to challenge a questionable fact, and when simply to listen.

For me, those are important qualities.

Where ChatGPT Can Be an Excellent Writing Partner

Although I favor a human ghostwriter for certain projects, that doesn't mean I dismiss the value of ChatGPT.

Quite the opposite.

I believe it can be an extremely useful tool for someone interested in writing a memoir or almost any other kind of book.

Here are some ways I would consider using it.

1. Organizing Your Memories

Most people don't remember their lives in neatly arranged chapters.

One day they might remember something from childhood. The next day, something from their working years. Then a memory about their grandparents comes to mind.

ChatGPT can help organize those scattered recollections into a timeline or a series of chapters.

2. Creating a First-Draft Framework

I've written before about the importance of completing a first draft.

One of the biggest obstacles facing a new writer is trying to make every sentence perfect before moving on.

ChatGPT can help develop an outline or a working framework that allows the author to concentrate on getting the story told.

3. Developing Interview Questions

Someone writing a family memoir might not know what questions to ask.

ChatGPT can suggest questions about childhood, family relationships, education, employment, marriage, children, and other life experiences.

Those questions may bring back memories the storyteller hasn't thought about in years.

4. Improving Clarity and Readability

Not everyone is comfortable with grammar, punctuation, sentence structure, or organizing paragraphs.

ChatGPT can help make writing easier to read without necessarily changing the underlying story.

However, I would caution against allowing it to polish away the personality of the person telling the story.

5. Researching Historical Background

Just as I researched the 1940s and 1950s while working on my mother's memoir, today's writers can use ChatGPT to identify historical topics worth investigating.

But historical information provided by artificial intelligence must be checked against reliable sources.

ChatGPT can make mistakes and occasionally invent information that sounds perfectly believable.

6. Helping Writers Who Have Physical Limitations

This is one benefit I find especially meaningful.

A person who has difficulty writing, typing, or organizing thoughts may still have a wonderful story to tell.

Speech-to-text software, audio recordings, and AI-assisted drafting can help that person participate in creating a book.

I can't help thinking about how useful some of these technologies might have been when I was working with my mother.

They wouldn't have replaced our conversations, but they might have made parts of the writing process easier.

The Danger of Letting AI Fill in the Blanks

One of my biggest concerns about using ChatGPT as a ghostwriter is its ability to create convincing information that was never provided.

Suppose someone tells ChatGPT:

"I remember my grandmother cooking breakfast in her kitchen when I was a little boy."

ChatGPT might turn that simple memory into a beautifully written scene involving sunlight coming through lace curtains, bacon sizzling in a cast-iron skillet, and the smell of fresh biscuits filling the house.

It sounds wonderful.

But what if the grandmother didn't have lace curtains?

What if she cooked on a different kind of stove?

What if the family couldn't afford bacon?

Now we have a beautifully written scene containing details that may never have existed.

That might be acceptable in a novel.

But in a memoir, those invented details could change the truth of the story.

This is why I believe a memoir writer should be extremely careful about allowing artificial intelligence to add descriptions, conversations, emotions, or historical details that the storyteller never supplied or approved.

Good writing should make a true story more engaging, not quietly turn it into fiction.

When I was writing my mother's memoir, I wanted to describe the world she remembered, not create a more attractive world because I thought it would make a better story.

I believe that principle is worth preserving.

What About Copyright and Publishing Rules?

There's another important issue authors should consider before allowing ChatGPT to write large portions of their manuscripts.

Copyright.

Under guidance issued by the United States Copyright Office, copyright protection generally requires human authorship.

Using artificial intelligence as a tool doesn't automatically prevent an author from obtaining copyright protection.

However, material generated entirely by AI without sufficient human creative authorship may not qualify for protection on its own.

Human-authored portions of a work, along with sufficiently creative human selections, arrangements, or modifications, may still qualify.

The distinction matters. Simply entering instructions into an AI system doesn't necessarily make someone the copyright author of everything the system produces.

Authors should also understand the publishing rules of the platforms they use.

Amazon Kindle Direct Publishing (KDP), for example, distinguishes between AI-generated and AI-assisted content.

If AI creates the actual text, images, or translations used in a book, Amazon requires disclosure during the publishing process, even if the material is substantially edited afterward.

If an author creates the material and uses AI only to brainstorm, edit, proofread, or improve it, Amazon generally treats that as AI-assisted content, which does not require the same disclosure.

Authors should always review current publishing requirements before submitting their work.

The last thing anyone wants is to complete a manuscript only to discover that they misunderstood the rules governing its publication.

Should You Hire a Human Ghostwriter or Use ChatGPT?

I think the answer depends on what you're trying to accomplish, how much assistance you need, and what you're willing or able to spend.

A professional ghostwriter can be expensive, particularly when the project involves extensive interviews, historical research, and a full-length manuscript.

But that expense may be justified when the author wants an experienced collaborator who can listen, investigate, challenge ideas, and help develop the emotional depth of a story.

ChatGPT offers a much less expensive alternative for some of those tasks.

It can help a person begin a project that might otherwise never get started.

But I would be reluctant to hand over an entire memoir to artificial intelligence and allow it to determine how the story should be told without substantial human involvement.

For some writers, the best solution may be a combination of the two.

Use ChatGPT to help organize notes, prepare questions, develop outlines, and improve early drafts.

Then let the author—or a trusted human editor or ghostwriter—review the work for accuracy, personality, emotional authenticity, and storytelling quality.

And when the memoir involves private family information, remember that recordings, transcripts, and personal documents deserve careful handling. Review the privacy settings of any AI service before sharing sensitive material, and obtain permission where appropriate.

The story should always remain under the direction of the person whose life is being written about.

The Personal Touch Is What I Look for as a Reader

When I sit down to read a book, I want more than grammatically correct sentences and neatly organized chapters.

I want to feel as though the person who wrote the book had something meaningful to share.

I appreciate the unexpected detail, the personal observation, and the emotional honesty that make a story feel real.

Perhaps that's why I approach my own writing the way I do.

I try to write the kinds of stories I enjoy reading.

Stories with enough personality and human feeling to make me care about what happens next.

I don't believe artificial intelligence is incapable of helping create that experience. It certainly can.

But I believe the personal memories, creative judgment, and emotional understanding of a human storyteller remain essential.

My mother's memoir taught me that lesson long before ChatGPT existed.

I wasn't just preserving dates, names, and locations.

I was helping preserve her memories of a life that only she had lived.

And even when another family member remembered something differently, I understood whose story I had been entrusted to tell.

My Final Thoughts: Don't Let the Tool Become the Storyteller

So, can ChatGPT be your ghostwriter?

Yes, in a practical sense, it can perform many of the writing tasks traditionally associated with ghostwriting.

But would I recommend replacing a skilled human ghostwriter with ChatGPT for every project?

No.

I believe there is still something valuable about one person sitting across from another, listening to stories, asking questions, and discovering the meaning behind the memories.

And for those who cannot afford a human ghostwriter, I believe ChatGPT can provide a valuable opportunity to get their stories onto paper.

The important thing is to remain involved in the process.

Don't surrender your memories, your personality, or your judgment simply because a computer can produce a paragraph faster than you can.

Your life is more than an outline.

Your memories are more than research material.

And your story deserves to be told in a way that represents you.

Whether you hire a ghostwriter, use ChatGPT, or write every word yourself, remember this: Technology may help you write the book, but the life behind the story is what makes it worth reading.

---

A Question for My Readers

Have you ever considered writing your memoir or hiring someone to help you write it?

Would you trust ChatGPT to help tell your life story, or would you prefer to work with a human ghostwriter?

Perhaps you've already used artificial intelligence to help with your writing.

I'd love to hear about your experiences, your concerns, and what you believe makes a personal story worth reading.

Share your thoughts in the comments below.

And if you're beginning your own writing or self-publishing journey, I invite you to explore more articles here at Giftkone Publishing, where I share lessons learned from my own experiences with writing, editing, publishing, and bringing books to readers.

Keep writing, keep learning, and remember that everybody has a story worth preserving.

Butch Gray
Giftkone Publishing

How to Get Your Self-Published Book into Public Libraries.

 

From Your Family's Story to the Library Shelf: How to Get Your Self-Published Book into Public Libraries

By Butch Gray | Giftkone Publishing

Does Your Self-Published Book Belong in a Public Library?

Have you ever walked into a public library, looked at the thousands of books lining the shelves, and wondered what it would take to see one of your own books among them?

I have.

In fact, getting a book into a public library was something that interested me when I first began my writing journey. But my interest in libraries, books, and preserving personal history has a much deeper beginning.

It began with my mother, a stroke, and a conversation she once had with one of her grandchildren.

That conversation helped inspire a book, and it eventually helped turn my mother into a published author.

It also gave me a greater appreciation for why ordinary people should write about their lives and families, and why public libraries can play such an important role in preserving and sharing those stories.

The Question That Inspired My Mother's Book

My mother once told me a story about a conversation she had with one of her grandchildren.

They were talking about libraries when the grandchild asked where they could go in the library to look up information about our family.

Now, that might seem like a simple question, but think about what the child was really asking.

Where was our family's history?

Where were the stories of the people who came before us?

Where could someone find out about our family's experiences, struggles, accomplishments, and the lives they had lived?

My mother tried to explain that someone in the family would have to record those stories first. Someone would have to write them down, perhaps even publish a book, before future generations could hope to find them preserved in a library.

Of course, family information can sometimes be found in old newspapers, public records, photographs, and genealogical collections. But what her grandchild was looking for was something more personal.

A book about our family, written by someone who actually knew its history.

That conversation motivated my mother to begin writing her memoir.

Unfortunately, life had other plans.

When My Mother Could No Longer Write

My mother suffered a stroke that took away her ability to write.

For someone who had wanted to preserve her family's story, that loss was devastating.

She had waited for the right time to complete her book, believing there would always be another opportunity.

But suddenly, the opportunity she had taken for granted was gone.

The realization contributed to her depression. She felt she had waited too long.

At the time, my own writing experience had largely been limited to screenplays. I had not yet developed the experience of writing and publishing books that I would acquire later.

But I did have something that mattered more than experience.

I had a mother with a story she wanted to tell, and I wanted to help her tell it.

So I became her ghostwriter.

She supplied the memories, experiences, family history, and guidance. I helped turn those memories into a manuscript.

We worked together, and I was able to complete the book for her.

My mother became a published author, even though she could no longer physically write the words herself.

For me, that accomplishment was worth more than any royalty payment.

Her story had been preserved.

The possibility that her grandchildren, great-grandchildren, and perhaps future generations might someday find her book in a library made the accomplishment even more meaningful.

That experience taught me a lesson I carry into my writing and publishing today.

You do not have to be famous for your life story to have value.

And you do not have to be published by a major publishing company for your book to deserve consideration by a public library.

Can a Self-Published Author Get a Book into a Public Library?

The short answer is yes.

Public libraries can purchase and circulate self-published books, including memoirs, novels, local histories, children's books, biographies, and educational publications.

But there is a difference between getting your book published and getting it accepted into a library's collection.

Publishing makes your book available.

Library acquisition means that a library has evaluated your book and decided it would be a worthwhile addition to the materials it offers its patrons.

Independent authors should understand that libraries operate under their own purchasing policies, budgets, collection priorities, and community interests.

No distributor or publishing service can guarantee that a particular library will purchase your book.

However, there are practical steps you can take to make your work easier for librarians to discover, evaluate, and order.

1. Make Your Book Available Through Library Distribution Channels

One of the biggest mistakes an independent author can make is assuming that because a book is available on Amazon, every public library can easily purchase it.

That is not necessarily the case.

Many libraries prefer to order books through established wholesalers and distribution services instead of purchasing directly from individual authors.

One publishing service worth investigating is IngramSpark.

Website: https://www.ingramspark.com/

IngramSpark offers print-on-demand publishing and access to a wholesale distribution network used by bookstores and libraries.

For independent authors who want broader distribution beyond Amazon, this can provide another way to make their books available for institutional purchasing.

Amazon's Kindle Direct Publishing (KDP) also offers Expanded Distribution for eligible paperbacks. That program can make qualifying books available to outside distributors, although it does not guarantee library placement.

Before selecting a distribution service, compare printing costs, wholesale discounts, royalty payments, distribution rights, and any return policies.

Remember, the objective is to make your book available through purchasing channels librarians actually use.

2. Understand the Importance of Owning Your ISBN

I have written before about the differences between using a free ISBN supplied by a print-on-demand publisher and purchasing your own.

Personally, I own the ISBNs for approximately half of my published books.

I consider ISBN ownership important because it gives an independent publisher greater control over how a publication is identified and distributed.

An ISBN, or International Standard Book Number, identifies a particular edition and format of a book.

If you use a free ISBN supplied by Amazon KDP, that ISBN is restricted to the KDP publishing system.

However, an ISBN you purchase and register yourself can generally be used for the same qualifying edition across compatible publishing and distribution services, subject to their rules.

Different formats, such as paperback and hardcover, require separate ISBNs. Ebooks may not always require one.

Owning your ISBN does not guarantee library acceptance, but it can make managing your publishing imprint and expanding your distribution options easier.

For someone planning a long-term independent publishing business, I believe that freedom is worth considering.

3. Make Your Ebook Available to Digital Libraries

When people think about libraries, they often picture rows of printed books.

But today's libraries also offer ebooks and audiobooks that patrons can borrow using computers, tablets, smartphones, and other reading devices.

Digital library services have created new opportunities for independent authors.

For example:

Draft2Digital

https://www.draft2digital.com/

Draft2Digital helps independent authors distribute ebooks to participating library services, including OverDrive, Hoopla, and cloudLibrary.

OverDrive and Libby

https://www.overdrive.com/

OverDrive provides digital content to participating libraries. Readers commonly access these collections through the Libby app.

Hoopla

https://www.hoopladigital.com/

Hoopla is another digital borrowing service used by participating public libraries.

These services can help make independently published ebooks available for library selection.

However, authors should understand that listing a book with a digital distributor does not automatically mean every library will carry it.

A library must still choose or authorize access to the title through its digital collection arrangements.

That is where reader interest becomes important.

4. Consider the Indie Author Project

Another opportunity worth exploring is the Indie Author Project.

Website: https://indieauthorproject.com/

The project connects independent authors with participating public libraries and offers opportunities for eligible ebooks to be considered for library collections.

Authors can submit their work for evaluation, and selected books may gain additional exposure through curated collections and related programs.

I find this opportunity particularly interesting because it recognizes that worthwhile literature does not come exclusively from major publishing houses.

There are talented independent authors producing books about local communities, personal experiences, historical events, and subjects that might otherwise receive little attention.

Programs that help libraries discover those books are valuable to both writers and readers.

5. Start with Your Local Public Library

Before trying to place your book in libraries across the country, consider beginning with the library in your own community.

Local authors often have something that national publishers cannot offer: a meaningful connection to the community.

Perhaps your book concerns local history.

Maybe it tells the story of a family that has lived in the area for generations.

Your publication might involve a school, neighborhood, cultural tradition, historical event, or experience that residents would recognize.

These are all reasons a librarian might be interested in learning about your work.

Visit the library's website and look for information about local-author submissions, collection development, or purchase suggestions.

If the procedure isn't clear, contact the library and ask who evaluates books for possible acquisition.

Don't begin by demanding shelf space. Begin by asking about the library's submission process.

Some public libraries accept donated books for consideration. Others prefer that authors submit information so the library can purchase an approved copy through its regular vendors.

Whatever the policy, remember that a donation is not a guarantee your book will be placed in the circulating collection.

6. Prepare a Professional Book Information Sheet

Libraries receive many requests from authors, publishers, and readers.

You can make their job easier by preparing a simple, professional, one-page information sheet, sometimes called a sell sheet.

Your sheet should include:

• Your book's title, subtitle, and author name.

• A clear image of the book cover.

• A short description of the book.

• The ISBN for each available format.

• The publication date, page count, and retail price.

• The appropriate subject category and target readership.

• The distributor or wholesaler through which the library can order.

• A brief author biography.

• Relevant reviews, awards, or local connections.

• Your publishing company and contact information.

For example, a memoir about a family growing up in San Francisco might interest a library because of its local and historical significance.

A book about Juneteenth might appeal to libraries developing collections about African American history and American cultural traditions.

But the librarian needs enough information to understand the book's subject, quality, and potential value to readers.

Make that information easy to find.

7. Encourage Readers to Request Your Book

Here is something many beginning authors may not realize.

Library patrons can influence which books their libraries consider purchasing.

Many library systems provide a book purchase suggestion form on their websites.

When readers request a particular title, librarians can evaluate those requests alongside their collection priorities and available budgets.

For independent authors, this means that developing an audience can be just as important for library distribution as it is for ordinary book sales.

If you have readers who genuinely enjoy your work, let them know that they may be able to request your book through their local public library.

You can provide the title, author name, ISBN, and other information needed to make a request.

Don't encourage people to submit dishonest or duplicate requests. Genuine interest from actual readers is far more meaningful.

And remember, the library still makes the final decision.

8. Offer Something Beyond the Book

Libraries do more than lend reading materials.

They provide educational programs, community meetings, author discussions, children's activities, workshops, and cultural events.

As an independent author, you may have knowledge or experiences worth sharing.

For example, an author who has written a memoir could offer a workshop about preserving family history.

A writer of children's books might provide an age-appropriate reading or activity session.

A historical author might offer a presentation related to the research behind a publication.

Through Giftkone Publishing, some subjects I would consider appropriate for such programs include memoir writing, Juneteenth history, self-publishing, and preserving family stories.

An author presentation does not guarantee that a library will purchase your book.

But it can provide a meaningful opportunity to connect with readers and demonstrate your commitment to education and community engagement.

9. Make Sure Your Book Meets Professional Standards

Self-publishing gives us tremendous freedom.

We can decide what to write, how to publish, what cover to use, and where to distribute our work.

But that freedom comes with responsibility.

Public libraries are investing resources in books they expect their patrons to use.

That means independent authors should pay particular attention to editing, proofreading, formatting, cover quality, accurate descriptions, and appropriate subject classifications.

A professionally prepared book is easier for a librarian to evaluate and more likely to create a favorable impression.

An independent author should not assume that a book deserves shelf space simply because it has been published.

We must give librarians reasons to believe readers will benefit from having access to it.

10. Understand That Library Distribution Is Also a Form of Marketing

One lesson I have learned during my years of publishing is that writing a book and making it available to readers are two different responsibilities.

You can write an excellent book, edit it, design a beautiful cover, and successfully publish it.

But if nobody knows it exists, the book may never reach the audience you hoped to serve.

Libraries offer another path to discovery.

Someone who might hesitate to purchase an unfamiliar author's book may be willing to borrow it from a public library.

If they enjoy it, they might search for other books by the same author, recommend the publication to a friend, or leave a review.

That is one of the things I appreciate about libraries.

They allow readers to explore books they might never have encountered otherwise.

For independent authors, that opportunity can be valuable beyond the immediate sale of a single copy.

A Few Things to Remember Before You Begin

Getting your self-published book into a public library requires patience and planning.

You should also be realistic.

Not every library will accept your book.

Some libraries may have limited acquisition budgets. Others may prioritize books that meet particular educational, regional, or community needs.

A local library might be interested in your memoir while a library in another state may have no immediate reason to purchase it.

That does not necessarily mean your book lacks value.

It means you need to understand the readers you hope to reach and identify the libraries most likely to serve them.

And sometimes the best starting point is not a national marketing campaign.

Sometimes it is a conversation with a librarian in your own neighborhood.

Why My Mother's Story Still Matters to Me

I often think about that conversation between my mother and her grandchild.

A child wanted to know where to find information about our family in a library.

My mother realized that someone had to preserve those stories if future generations were going to find them.

Then a stroke threatened to end her opportunity to do exactly that.

I was fortunate enough to help her complete what she had started.

I cannot help but wonder how many family histories have disappeared because nobody took the time to record them.

How many grandparents have stories their grandchildren will never hear?

How many accounts of neighborhoods, communities, military service, family traditions, and everyday life have been lost because people believed their experiences weren't important enough to write down?

Libraries can preserve many kinds of information, but somebody has to create or collect that information in the first place.

And that somebody might be you.

You don't have to be a celebrity.

You don't have to be a scholar.

You don't have to write the next bestselling novel.

Sometimes a book written about your own family or personal experiences may become the most important publication your descendants will ever read.

That is one reason I encourage people to consider writing memoirs.

And it is one reason I believe independent authors should explore opportunities to make their books available through public libraries.

Final Thoughts: Your Book May Have a Place in Someone's Future

The next time you walk into a library, take a moment to look around.

Every book represents someone who believed they had something worth sharing.

Some books were written by famous authors. Others were created by researchers, historians, educators, and people recording experiences that might otherwise have been forgotten.

Your book might belong among them.

But first, you have to write it.

Then you have to publish it.

And finally, you have to help the people responsible for acquiring library materials discover that it exists.

For me, the lesson began with my mother and a grandchild who wanted to find our family history.

It grew into a lifelong appreciation for writing, publishing, and preserving stories.

Don't wait until your story can no longer be told. Write it, preserve it, and give future generations a chance to discover it.

And once you've published your book, don't overlook the public library.

It just might be one of the most meaningful places your writing will ever reach.

Explore My Books

I invite readers to explore my published works under the names Hank Gray and Butch Gray.

Hank Gray: https://amzn.to/3VN4LTl

Butch Gray: https://amzn.to/4BjwLOo

A Question for My Readers

Have you ever tried to get a self-published book into a public library? Or have you ever wished your family's history could be found on a library shelf?

I'd love to hear about your experiences in the comments.

Giftkone Publishing — Encouraging Writers, Inspiring Readers, and Sharing Knowledge.

By Butch Gray

Get Paid to Read Books

 

Discover the company that offered $200 per book, why the job closed, and how readers can earn money while helping authors improve.

By Butch Gray | Giftkone Publishing

Imagine getting paid to do something you already love—reading books!

What if someone offered you $200 to sit down with a good novel, read it from beginning to end, and share what you discovered? For someone who enjoys reading, that might sound like a dream come true.

As a person who loves to write, I find this idea particularly interesting. I have always appreciated the relationship between writers and readers. After all, what would writers do without someone willing to read what they have written?

But there is something about that relationship I believe deserves more attention: the value of reader feedback.

I love getting feedback from people who read my books. Whether that feedback comes through a published review, a personal message, or a conversation, it gives me a chance to understand what readers enjoy, what captures their attention, sometimes what I could have done better, and, on occasion, to meet one of my readers.

To me, good feedback is an important part of learning how to write more of what readers love.

And that brings me to something I recently learned about: a company that actually offered to pay people $200 for reading and analyzing books.

The Company That Offered $200 Per Book

The company is called WordsRated, a book research organization that studies literature, reading, and the publishing industry.

WordsRated introduced an unusual remote position called Bibliophile-at-large.

A bibliophile is someone who loves books. So, in a way, the company was looking for people who loved reading enough to turn their passion into a paying assignment.

The opportunity was straightforward: participants were assigned books to read and were paid $200 for each completed book analysis.

Now, before you start reaching for your favorite reading chair, there is something important you should know.

WordsRated permanently closed this particular opportunity on May 23, 2024, and announced that it has no plans to reopen the position.

Nevertheless, I believe the program is worth discussing because it demonstrates something readers and writers sometimes overlook: reading is a valuable skill, and what readers discover in books can have real value to others.

You can read about the original program on the company's website:

https://wordsrated.com/bibliophile-at-large/

What Did Readers Have to Do to Earn $200?

This wasn't simply a matter of reading a book and reporting whether you liked it.

WordsRated wanted readers who could pay careful attention to the details of a story and document specific information.

Assignments included identifying and recording such things as:

• How many male and female characters appeared in a book.

• How much dialogue was assigned to different characters.

• The locations where events in the story took place.

• References to other books within the story.

• The number of times certain words or phrases appeared.

• How many questions were asked throughout the book.

• Whether animals appeared in the story and which kinds.

This information could then be used to develop research and statistics about literature.

Think about that for a moment.

Something a person might ordinarily read for entertainment could also provide valuable information about storytelling, culture, language, and how authors represent people and experiences.

The company recognized that collecting this information required attention, patience, and time. It was willing to compensate readers for doing that work.

Why Reader Feedback Matters So Much to Me

As an independent author and publisher, I have written books covering subjects such as African American history, Juneteenth, memoirs, romance, educational topics, and personal experiences.

Every book begins with an idea. Sometimes that idea comes from research, sometimes from something I have experienced, and sometimes from nothing more than a question that refuses to leave my imagination.

But once a book is published, something interesting happens.

The story no longer belongs exclusively to the imagination of the person who wrote it. It becomes an experience shared with the reader.

Readers bring their own knowledge, memories, emotions, expectations, and experiences to the pages.

Two people can read the same book and walk away with entirely different impressions.

One reader might remember a particular character. Another might be moved by a conversation. Someone else might question a historical reference or recognize an experience from their own life.

That is why I value reader feedback.

I don't necessarily expect every reader to agree with everything I write, nor do I believe every review must be complimentary.

Sometimes a thoughtful criticism can teach an author more than a dozen compliments.

What matters to me is having the opportunity to learn.

Could You Still Get Paid to Read Books?

Although the WordsRated position has closed, there are other ways people with strong reading and communication skills may be able to earn money doing work related to books.

Some opportunities involve:

Book Reviewing: Writing thoughtful evaluations of published books for publications, websites, or literary organizations. Some assignments are paid, while others are unpaid.

Beta Reading: Reading an author's manuscript before publication and offering feedback about the characters, storyline, pacing, clarity, and overall reading experience.

Proofreading: Helping identify spelling, punctuation, and grammatical errors before a manuscript is published.

Manuscript Evaluation: Providing authors with a more detailed assessment of their work, including what is effective and what might need improvement.

Book Summaries and Literary Analysis: Preparing summaries or research reports for clients who need information about particular books.

These services generally require more than simply reading for enjoyment. They may involve writing ability, experience, critical thinking, and an understanding of what the client expects.

Compensation varies, and not every opportunity pays. Some services also have restrictions concerning paid reviews, so readers should always investigate the requirements before participating.

And a word of caution: be suspicious of anyone promising easy money for reading while requiring you to pay a fee upfront to receive assignments.

Readers Can Help Writers Even Without Being Paid

One thing I hope readers take away from this discussion is that their opinions have value, even when no money changes hands.

For independent authors, reader participation can make a tremendous difference.

When you finish a book, consider sharing your thoughts about it.

Did the story hold your attention? Did you learn something you didn't know? Was there a character you particularly enjoyed? Did the ending satisfy you? Would you recommend the book to someone else?

These are the kinds of observations that can help an author improve future publications.

Even a short, honest review can be useful.

For writers who don't have the enormous marketing resources available to major publishing companies, reviews and word-of-mouth recommendations can also help new readers discover their books.

As I have learned through my publishing experiences, getting a book written and published is only part of the journey. Getting that book into the hands of interested readers is another challenge entirely.

Why I Share Opportunities Like This

Giftkone Publishing isn't simply a place where I want to talk about my own books.

I also want it to be a place where writers and readers can discover information that might educate, encourage, inspire, or benefit them.

Sometimes that information might involve learning how to write a memoir. Other times, it might concern publishing, book distribution, ISBN ownership, or opportunities connected with reading.

I believe readers and writers have more in common than we sometimes realize.

Good writers learn from reading. Good readers often become better at recognizing what makes a story work. Some eventually discover that they have stories of their own worth writing.

And who knows? Someone reading this post might develop an interest in becoming a professional book reviewer, manuscript evaluator, or even an author.

That possibility alone makes sharing this kind of information worthwhile to me.

A Final Thought: Your Opinion Has Value

The WordsRated $200-per-book opportunity may be gone, but the lesson behind it remains.

Readers do more than turn pages. They interpret, question, evaluate, remember, and respond.

And those responses can be valuable.

As an author, I appreciate every reader who takes the time to explore something I have written. I especially appreciate those who share their thoughts afterward.

You don't have to be a professional critic to offer meaningful feedback. Sometimes the most useful observation comes from an ordinary reader who simply explains what they liked, disliked, understood, or wished had been different.

So keep reading. Keep learning. And when you discover a book worth talking about, share your experience.

You never know how much your words might mean to the person who wrote it.

Explore My Books and Share Your Thoughts

I invite you to explore my published books under the names Hank Gray and Butch Gray.

Amazon Book Collections:

Hank Gray: https://amzn.to/3VN4LTl

Butch Gray: https://amzn.to/4BjwLOo

If you have read one of my books, I would love to hear what you thought. Your honest feedback, suggestions, and reviews are always appreciated.

And here's a question for my readers:

If someone offered you $200 to read and analyze a novel, would you take the job? Or would having to carefully document everything take some of the enjoyment out of reading?

Share your thoughts in the comments. I'd love to hear your opinion.

---

Giftkone Publishing — Encouraging Writers, Inspiring Readers, and Sharing Knowledge.

Written by Butch Gray

Source: WordsRated, “Get Paid to Read Books [Permanently Closed]” — https://wordsrated.com/bibliophile-at-large/

Can an Average Person Write a Memoir?

 

Can an Average Person Write a Memoir?

One of the questions new writers often ask is simple:

Can an average person write a memoir?

My answer is yes.

In fact, some of the most meaningful memoirs may come from people who never considered themselves famous, important, or extraordinary.

You do not have to be a celebrity, politician, athlete, millionaire, or historical figure to have a story worth telling. You only need memories, experiences, and something you believe is worth passing along.

For many years, I had writing ideas swimming around in my head.

Before I retired, I worked in science and broadcasting, and throughout those years I was blessed with more ideas than I had time to develop. I kept notes. Sometimes I created outlines. Occasionally I managed to move an idea a little farther along.

I certainly wrote.

I completed class papers, employee reviews, screenplays, technical and professional writing, and assignments I was paid to produce.

But personal writing was different.

The memoirs, biographies, family stories, and other ideas I wanted to write always seemed to be waiting for that magical thing called free time.

And there never seemed to be enough of it.

I Kept Scheduling My Stories for “Someday”

Like many working people, I kept pushing my personal writing projects into the future.

I would write them when work slowed down.

I would write them when I had more time.

I would write them after I retired.

The problem with putting everything off until someday is that someday is not guaranteed to arrive the way we imagine it will.

My mother taught me that lesson in a way I have never forgotten.

She had stories of her own. Memories. Experiences. A life worth putting on paper.

But like so many people, when she had the physical ability to write, she did not always have the time, motivation, or opportunity to sit down and do it.

Then she suffered a stroke.

The stroke took away her ability to write.

Suddenly, she had something she had not had enough of before—time.

But now she could no longer physically do the writing herself.

That realization was painful for her. She became depressed and felt as though an opportunity had been lost.

That happened not long before my retirement from Stanford University, and it changed the way I looked at writing.

My Mother Found Her Ghostwriter

Fortunately, her story did not end there.

I stepped in.

I listened to my mother's memories, helped organize them, and completed her memoir for her.

I gave her the writing credit.

It was her life.

Her memories.

Her experiences.

Her book.

I was simply the person who helped move those memories from her mind onto the page.

And the smile that book brought to my mother's face gave me something I would carry into retirement.

Looking back, I sometimes joke that my mother found herself a ghostwriter.

That ghostwriter just happened to be her son.

Helping her finish that memoir became the spark that started another chapter in my own life.

Retirement Gave Me Time, but My Mother Gave Me Urgency

When retirement finally arrived, I began digging through those old notes, ideas, unfinished outlines, and stories I had saved for years.

One by one, I started bringing some of them to life.

Not quickly.

Not perfectly.

But slowly and surely.

That distinction is important.

People sometimes imagine writers sitting down with a brilliant idea and effortlessly producing a finished book.

That has never been my experience.

Writing is a process.

You sit down.

You remember.

You make notes.

You write a paragraph.

Then another.

You discover that one memory leads to another memory you had not thought about in twenty years.

Eventually, pages begin to accumulate.

The important part is starting.

You Do Not Have to Be Famous to Write a Memoir

A memoir is not valuable simply because the person writing it is famous.

It is valuable because the experience means something.

A memoir can be about growing up in a particular neighborhood.

It can be about military service.

It can be about raising children.

It can be about a marriage.

A career.

Caregiving.

Immigration.

Faith.

Loss.

Survival.

Education.

Starting over.

A family tradition.

A relationship with a parent.

Or one period of your life that changed the person you eventually became.

Readers often connect less with a person's fame than with recognizable human emotions.

Love.

Fear.

Ambition.

Regret.

Humor.

Mistakes.

Family loyalty.

Disappointment.

Hope.

Those things belong to ordinary people every day.

And that is exactly why ordinary lives can make extraordinary memoirs.

Memoir Is Not the Same as Autobiography

New writers sometimes believe that writing a memoir means starting with:

“I was born on…”

and then documenting every year until the present.

That is closer to an autobiography.

A memoir can be much more focused.

Instead of telling your entire life story, you might write about one period or one theme.

You might write about:

• the neighborhood where you grew up,

• your years in the military,

• becoming a parent,

• caring for someone you love,

• surviving a difficult period,

• working in an unusual profession,

• your spiritual journey,

• moving across the country,

• going back to school later in life,

• or one relationship that changed you.

You do not have to tell everything.

You only have to decide what story you are trying to tell.

That can make memoir writing much less intimidating.

Your Ordinary Life May Not Be Ordinary to Someone Else

Another problem people have is believing their lives are not interesting enough.

You lived it, so naturally it feels ordinary to you.

But someone else did not live it.

The house you grew up in may be gone.

The neighborhood may have changed.

The job you performed may no longer exist.

Family members who knew certain stories may no longer be here.

Traditions may disappear.

Places change.

Technology changes.

Communities change.

Language changes.

And people change.

What feels like an ordinary memory today can become valuable family or historical information tomorrow.

Sometimes we do not realize we are living through history until years later.

Write the Truth as You Remember It

A strong memoir is not about making yourself look perfect.

Readers usually connect more strongly with honesty.

That means acknowledging mistakes.

Confusion.

Bad decisions.

Lessons learned.

Things you misunderstood when you were younger.

Times when you were afraid.

Times when you failed.

And times when you surprised yourself.

A memoir becomes more powerful when the writer is willing to examine not only what happened, but what the experience eventually taught them.

You are not simply recording events.

You are trying to understand them.

That reflection is often where the real story lives.

Start With Memories, Not a Book

One thing that can stop a new memoir writer is thinking immediately about producing an entire book.

Do not begin by worrying about 200 pages.

Start with one memory.

Write about your childhood kitchen.

Your first job.

The first person you fell in love with.

A teacher you never forgot.

The day you left home.

The moment you became a parent.

Something your mother always said.

Something your father taught you.

A terrible mistake.

A wonderful surprise.

Write one memory.

Then write another.

You may eventually discover that those separate memories belong to the same larger story.

That is often how a memoir begins.

Record Your Stories If Writing Is Difficult

My mother's experience also taught me something else.

Writing does not always have to begin with a keyboard or pen.

Today we have options my mother did not have for most of her life.

You can speak your memories into a phone.

Record conversations.

Use speech-to-text software.

Ask a family member to interview you.

Work with an editor.

Work with a ghostwriter.

The important thing is preserving the story.

If physical limitations, eyesight, mobility, or another challenge makes traditional writing difficult, that does not mean your memoir cannot be written.

The storyteller and the person physically typing the words do not always have to be the same person.

My mother taught me that.

Do Not Wait for the Perfect Time

This may be the most important lesson I learned from her experience.

For years, much of my personal writing had a place on my imaginary calendar called:

Sometime in the future.

Retirement eventually gave me the time to return to many of those ideas.

But my mother's stroke showed me why waiting can be dangerous.

Life changes.

Health changes.

Memory changes.

Circumstances change.

Stories disappear when the people carrying them are no longer able to tell them.

So when someone asks me when the best time is to begin thinking about writing a memoir, my answer is simple:

Now.

You do not have to finish it today.

You do not even have to know exactly what the book will become.

Make some notes.

Record your voice.

Write down names.

Describe places.

Save photographs.

Create a timeline.

Write one memory.

Then another.

Give your future self something to work with.

The Average Person Is History Too

We often think history belongs to presidents, generals, entertainers, inventors, and famous people.

But history is also carried by factory workers, teachers, caregivers, mechanics, scientists, broadcasters, nurses, parents, grandparents, veterans, students, immigrants, neighbors, and children growing up in places that may look completely different fifty years later.

The so-called average person is part of history too.

Your story may never become a bestseller.

That does not determine its value.

Maybe your children will read it.

Maybe your grandchildren will.

Maybe someone researching your neighborhood, profession, culture, family, or generation decades from now will discover something in your story that exists nowhere else.

Or maybe a complete stranger will read what you wrote and think:

I thought I was the only one who felt that way.

That alone can make a memoir worth writing.

So, Can an Average Person Write a Memoir?

Absolutely.

You do not need fame.

You do not need an extraordinary life.

You do not need a perfect memory.

And you certainly do not need to wait until retirement.

You need a story, some honesty, and a willingness to begin.

My mother waited until she could no longer physically write her own story, but fortunately she had someone available to help her finish it.

Helping her preserve those memories changed my own relationship with writing.

It reminded me that stories do not remain available forever.

So if there is a memoir swimming around in your mind, do not keep assigning it to someday.

Sit down.

Turn on a recorder.

Open a blank document.

Pick one memory.

And begin.

Because the best time to start preserving your story may not be sometime in the future.

It may be today.

—Giftkone Publishing

Free ISBN or Your Own ISBN? What Self-Published Authors Need to Know

 

Free ISBN or Your Own ISBN? What Self-Published Authors Need to Know

One of the first pleasant surprises a new self-published author may encounter is the offer of a free ISBN.

Free sounds good, especially when you are already paying for editing, cover design, formatting, advertising, proof copies, and everything else involved in publishing a book.

But after years of self-publishing, I have come to believe there is another question authors should ask:

What am I giving up in exchange for that free ISBN?

Personally, I own the ISBNs on about fifty percent of the books I have published. That has allowed me to experience publishing from both sides. I understand the attraction of allowing a print-on-demand publisher to provide the ISBN, but I also understand the value of having an ISBN that belongs to me and my publishing operation.

The difference becomes particularly important when you begin thinking beyond getting your book published today.

You have to think about where that book may be five, ten, or twenty years from now.

First, What Is an ISBN?

ISBN stands for International Standard Book Number.

It is the identifying number attached to a particular edition and format of a book. Booksellers, libraries, distributors, wholesalers, and publishing platforms use ISBNs to identify books in their systems.

A paperback and hardcover version of the same book normally require separate ISBNs because they are different formats. IngramSpark specifically advises that each book format needs its own ISBN.

Think of the ISBN as part of your book's publishing identity. If you plan to have a Hardcover, Paperback, eBook, and Audiobook version of the same book title, you'll need four different ISBNs.

And that brings us to an important distinction.

Owning Your Book Is Not the Same as Owning Its ISBN

Suppose you publish through a print-on-demand service and accept its free ISBN.

You still own your writing and copyright, assuming you have not signed those rights away under some separate agreement.

The publishing platform does not suddenly become the author of your book.

What it controls is the ISBN it issued.

For example, Amazon KDP currently states that a KDP-issued free ISBN is registered with the imprint "Independently published" and can be used only through KDP. If you provide an ISBN you purchased yourself, you can use your own registered publishing imprint and publish that edition outside KDP as well.

IngramSpark has a similar distinction. Its free ISBN carries its designated imprint, is owned by IngramSpark, cannot be transferred to another account, and cannot be used on another publishing platform.

That may not seem important when everything is going well.

But what happens when it isn't?

What Happens If Your Relationship With the Publisher Sours?

This is the question I believe every independent author should consider.

What happens if you become unhappy with your POD publisher?

What happens if its printing prices become unreasonable?

What if its quality declines?

What if its distribution changes?

What if your account is closed?

What if the company is sold, reorganized, or someday disappears?

You may still own your manuscript, cover, and intellectual property, depending on your agreements and who created those materials.

But you do not suddenly acquire ownership of the publisher's ISBN.

If you want to move that book somewhere else, you may have to assign it a new ISBN and establish it as a new or revised title with your new publishing provider.

IngramSpark states this directly: if an author uses its free ISBN and later wants to own the ISBN, the book must be established with a different ISBN as a new or revised title.

That is one of the hidden costs of "free."

You saved money at the beginning, but you accepted a publishing identifier that you cannot take with you.

Your Book Can Survive, but Its Publishing Identity May Change

This distinction is important.

Losing access to a platform-issued ISBN does not mean your story disappears.

Your manuscript is still your manuscript.

You can take your work elsewhere and republish it, provided you retain the necessary rights.

But you may need a different ISBN.

And a new ISBN can mean establishing a new publishing record for that edition.

That can create headaches involving metadata, retailer listings, distribution records, and ensuring readers find the correct edition.

For an author publishing one book as a personal project, that inconvenience may never matter.

For someone trying to build a publishing business or a catalog of books, it can matter considerably.

When You Own the ISBN, You Control the Publishing Identity

Purchasing your own ISBN changes the relationship.

Instead of borrowing part of the publishing infrastructure from a POD company, you become the publisher attached to that ISBN.

Your publishing imprint can appear in the book's metadata.

For example, an independent author could publish under an imprint such as:

Giftkone Publishing

rather than having the platform's default publishing designation attached to the ISBN.

KDP confirms that authors using their own ISBN can enter the imprint registered with their ISBN agency, while its free ISBN uses "Independently published."

That is more than cosmetic to me.

It represents ownership of another part of the publishing process.

My book.

My copyright.

My publishing imprint.

My ISBN.

My decision about who prints and distributes it.

Portability May Be the Biggest Advantage

This is probably the strongest argument for owning your ISBN.

If you own the ISBN for a particular edition and format, you are not tying that ISBN to one POD provider.

KDP specifically says an ISBN you purchase yourself can be used to publish outside KDP. IngramSpark likewise explains that owning your ISBN gives you greater freedom to use other printers and publishing platforms.

That means your printer and your publisher do not necessarily have to be the same thing.

This is an important idea for independent authors to understand.

Amazon can print my book without owning its publishing identity.

IngramSpark can print or distribute my book without owning its publishing identity.

Another printer may manufacture copies of my book later.

The service provider can change.

The ISBN and the publishing identity behind it can remain under my control.

That is a much different business relationship.

But Free ISBNs Still Have Value

I don't believe every author needs to purchase an ISBN for every project.

There are legitimate reasons to use a free one.

A new author may be publishing a first book with a very limited budget. Someone may only be interested in selling a paperback through Amazon. Another person may be producing a family memoir, church history, reunion book, or small project with no intention of creating a publishing company.

Under those circumstances, a free ISBN can make perfect sense.

It removes an expense and makes getting into print easier.

There is nothing automatically wrong or unprofessional about making that decision.

The important thing is to understand what you are choosing.

Free ISBN: lower upfront cost, less control.

Your ISBN: higher upfront cost, greater publishing independence.

The Cost Question

For authors planning only one book, buying an ISBN can feel expensive.

For authors planning multiple books, however, buying ISBNs in blocks can substantially reduce the per-number cost.

And remember that you may need several ISBNs for one title if you release multiple formats.

So I would encourage writers to stop thinking about an ISBN only as another publishing expense.

Think of it as publishing infrastructure.

A business buys its domain name.

A company registers its name.

A publisher establishes its imprint.

And an independent publisher may decide that owning its ISBNs is another part of controlling its business.

Something Else I Learned: Think About Your Catalog, Not Just Your Next Book

This is where my thinking has changed over time.

When you're publishing your first book, you're usually thinking:

How do I get this book published?

After you have published a number of books, you begin thinking differently.

You start asking:

How do I manage my catalog?

That is a much bigger question.

A catalog may survive several printers, distributors, websites, retailers, technological changes, and publishing companies.

The company you use today may not be the company you use ten years from now.

That means the more of your publishing infrastructure you control, the easier it may be to move when circumstances require it.

I own the ISBNs on about half of my published books. Looking back, I can understand why I accepted free ISBNs on some titles. Saving money was important, and sometimes convenience won.

But experience has also taught me the value of owning the publishing identifiers attached to my work.

Before You Click "Free ISBN," Ask Yourself Five Questions

Before accepting a POD company's free ISBN, consider:

1. Do I intend to sell this book only through this platform?

2. Might I want another printer or distributor later?

3. Am I building a recognizable publishing imprint?

4. Is this a one-time book or part of a growing catalog?

5. How important is long-term control of this edition to me?

There isn't one correct answer for every author.

But there should be an informed answer.

Free Today Can Create a Cost Tomorrow

Self-publishing gives writers something authors of previous generations often struggled to obtain:

control.

We can choose our subjects, editors, covers, prices, formats, printers, distributors, and publishing schedules.

Owning your ISBN can be another part of that control.

A free ISBN can be a perfectly reasonable publishing tool. But understand that you are using an ISBN belonging to someone else's publishing system.

An ISBN you purchase is different.

It travels with your publishing operation, rather than your publishing operation being tied to the company that supplied the number.

And that leads to the question I wish more new writers would ask before publishing:

If the company printing my book disappeared tomorrow, how easily could I take my book somewhere else?

Your words should outlive your relationship with any particular publishing platform.

For writers planning to build a serious catalog, that alone may make owning your ISBN worth considering.