I’m a huge proponent of indie publishing, not least because it has allowed horse books to enter a whole new level. Gone are the days when I could choose between a $5.99 paperback from the Thoroughbred series or a $35.95 hardcover tome on dressage principles if I wanted to have a little horsey reading time.
(And on a side-note, whoever decided that horse training books should be published on expensive glossy paperstock and with beautiful slipcovers was probably some accountant reading a report about the 35-55 married female with disposable income demo that represents the majority of Dressage Today’s subscribers, not a horse-person who knows a training book is best perused in the rather dirty and disheveled confines of the tack room immediately before or after a training session.)
Meanwhile, back at the ranch… Indie publishing lets horse-people publish horse-books that I actually want to read.
You’ve probably noticed that I’ve reviewed Barbara Morgenroth and Maggie Dana books quite often at Retired Racehorse. That’s because they’re not just excellent writers, they’re horsewomen, and they write horse books that make sense. No one is going straight to the Olympics after they went to a summer riding camp, taught an unbroken Mustang to jump logs in the woods by moonlight, and subsequently won the Grand Prix at the National Horse Show. (Any old Grand Prix will do.)
Instead, Maggie writes about tweens who are going about the very difficult business of growing up and working really, really hard to improve their riding because they know nothing else really matters in life.
Meanwhile, Barbara writes about teens who are going about the very difficult business of growing up (in a much more edgy manner, because teens) and working really, really hard to improve their riding even though they’re not entirely convinced that it’s the best way to spend their time (because teens).
The books lend to one another beautifully: As Barbara said, “Maggie’s books are a gateway to mine.”
And, I’d like to think, Barbara’s books lead to mine, which are written about adults in the horse business.
No more skipping from Thoroughbred to Mary Wanless in one not-so-easy step. Horse books have a progression now.
And indie publishing isn’t just wonderful because it allows us to read books we might never get to enjoy otherwise. Indie publishing also provides for a spirit of collaboration and friendship between authors who realize that by working together, they can provide the best possible reading experience for fans. Recently, they sent me this wonderful article:
How Two Rivals Came Together to Make a Team
In the world of traditional book publishing, Barbara Morgenroth and Maggie Dana would be rival authors, both vying for the same limited space on bookstore shelves devoted to children’s and YA fiction. Very likely they’d be monitoring one another’s sales ranks and rejoicing if the other author dropped a few points.
“Hooray! Let’s break out the whips and spurs!”
But when it comes to indie publishing, all that has gone out the window. Independent authors are totally open about sharing resources and information and helping one another. Some have edited and/or proofed another’s books for free; other indies have provided their fellow authors with professionally designed covers, formatting, and typesetting (again, for free) because they believed in someone else’s book and wanted to help.
Six months ago, Barbara and Maggie only knew each other from their Amazon listings, but thanks to a chance encounter on a well-respected indie publishing industry blog, they connected in real time.
And they are loving it.
After getting to know one another via phone and email, they swapped information: Maggie has taught Barbara how to format her books for ePub and Kindle, and Barbara (whose multiple talents include writing for daytime television) has helped Maggie broaden her writing horizons. They’ve also swapped characters.
Lockie Malone, Barbara’s enigmatic horse trainer who stars in her Bittersweet Farm series, makes a guest appearance in Taking Chances, the seventh book in Maggie’s Timber Ridge Riders series for mid-grade/tween readers.
At some point, one of Maggie’s Timber Ridge characters will show up in Barbara’s Bittersweet Farm YA books.
And who knows where this will lead? All bets are off as these two writers set aside any hint of competition and work together to make their genres the best they can be… and they’re having a boatload of fun while doing it.
About these two horse-crazy authors …
Maggie Dana’s first riding lesson, at the age of five, was less than wonderful. In fact, she hated it so much, she didn’t try again for another three years. But all it took was the right instructor and the right horse and she was hooked for life.
Her new riding stable was slap bang in the middle of Pinewood Studios, home of England’s movie industry. So while learning to groom horses, clean tack, and muck stalls, Maggie also got to see the stars in action. Some even spoke to her.
Born and raised near London, Maggie now makes her home on the Connecticut shoreline where she divides her time between hanging out with the family’s horses and writing her next book in the Timber Ridge Riders series. She also writes women’s fiction and her latest novel, Painting Naked, was published in 2012 by Macmillan/Momentum.
Barbara was born in New York City and but now lives somewhere else. She got her first horse when she was eleven and rode nearly every day for many years, eventually teaching equitation, then getting involved in eventing.
Starting her career by writing tween and YA books, she wound up in daytime television for some years. Barbara then wrote a couple of cookbooks and a nonfiction book on knitting. She returned to fiction and wrote romantic comedies.
When digital publishing became a possibility, Barbara leaped at the opportunity and has never looked back. In addition to the fifteen traditionally published books she wrote, in digital format Barbara has something to appeal to almost every reader—from mature YAs like the Bad Apple series and the Flash series, to contemporary romances like Love in the Air published by Amazon/Montlake, along with Unspeakably Desirable, Nothing Serious, and Almost Breathing.