Keeping consistent translators across series

How is the German market different to English speaking markets, and why might it be worth looking into translation? What are the best ways to translate, self-publish and market your books in German? With Skye MacKinnon.

In the intro, thoughts on feeling empty after a book, and the benefits of SubStack for authors [Stark Reflections; Wish I'd Known Then]; AI-Assisted Artisan Author webinars 16 and 23 May.

This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com

This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn 

Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books.

You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. 

Show Notes

• Why the German-speaking market is much bigger than just Germany, and which genres sell best there
• Title protection laws, the Impressum, and translator copyright
• How to find and vet human translators, and what a quality translation actually costs
• The current state of AI translation for fiction, and why quality assurance passes are essential
• Distribution decisions: the Tolino Alliance, Skoobe, libraries, and why IngramSpark doesn't work in Germany
• Marketing in German: BookDeals, LovelyBooks, ads, BookTok, and why pre-orders matter even more

You can find Skye SkyeMacKinnon.com and her children's books at IslaWynter.com.

Transcript of the interview with Skye MacKinnon

Jo: Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books.

Welcome, Skye.

Skye: Hi. Thank you so much for having me.

Jo: This is such an interesting topic. But first up—

Tell us a bit more about you and how you got into writing and publishing.

Skye: I've always loved writing, but I was always told, “Well, you can't be an author. Get a proper job.” So I became a journalist and did that for a few years, but there was always that love of creative writing.

At some point when I was getting more active on social media, I was following some other indie authors and realised they're just like me. They're not special people. I had always pictured authors as these mythical beings high up above the rest of us.

That gave me the courage to put out my own book. I self-published from the start, never even looked into trad publishing, and that was in 2017. I was really lucky because my first series totally hit it off. I was able to quit my job a year later and I have been a full-time author ever since.

I started with romance and then, by accident, got into children's books. Which has been great fun. I don't even have children myself, but it's just that palette cleanser in between. Writing about cute animals and unicorns and just bringing some fun into everything.

Nowadays I have about five or six pen names, depending on how you count, across genres, although most of it is romance, and that's my bread and butter really.

Jo: Yes, I'm certainly one of those people who wish I could write romance. It always just seems to be the most profitable market in any language, I guess.

Let's get into the book. It's a fantastic book. I've been through it myself. It's really packed full of everything you need, so we can't cover everything.

Let's start by considering the German language in general.

Why is German a good language market to consider expanding into?

And for anyone who might not realise, why is it more than Germany?

Skye: Well, Germans love to read, and depending on the statistic that you look at, they're generally seen as the third largest book market in the world after English and Mandarin Chinese. So it's a huge market, even though you think of Germany as a small little country in Europe.

As you said, it's much more than Germany. Yes, you've got about 83 million people in Germany, but then you've also got Austria, Switzerland, Liechtenstein, parts of Belgium, Luxembourg, and even Italy. So if you look at the whole footprint on the map, it is much bigger than just the one country.

A lot of young people there still read and go to bookshops. There's a huge bookshop culture. You will find, if you go to a high street there, way more bookshops than you do here in the UK, for example.

There's demand for quality and for really gorgeous books. They have been way ahead of the curve when it comes to special editions and sprayed edges, and they also like translations.

I found one statistic where about two thirds of all newly released titles in German are actual translations. Readers are used to translations, but until a few years ago it was all trad-published translations. So this transition is coming now. It's coming very, very fast, especially with AI.

They generally are very open to translations as long as the quality is there.

Jo: So what about specific genres then? Obviously we mentioned romance there, and romance is not just one genre anymore. Whatever they're writing—

How can somebody tell if it's worth expanding into German?

How do we do this? It takes time and effort and money, potentially.

Skye: It can take a lot of money, so it is worth doing research. There's one easy way, which is just looking at your current sales and looking at how many books you're selling in Germany, Austria, and Switzerland at the moment in English.

That can give you an indication of which of your books might be already quite popular there. Sometimes it's quite surprising.

A lot of my books sell very differently in German than they do in English. I've got one series that did okay in English, and I almost didn't translate it. The German version is, I think, my second bestselling series in German and has completely surprised me. So sometimes it's worth just experimenting a bit.

Otherwise, obviously as you said, romance is doing really well. There are a few surprises though. I had a chat with Draft2Digital and they gave me lots of information from their statistics, and they said about 40% of all the western title sales on Draft2Digital are actually in Germany, which is just a huge percentage.

Jo: In English?

Skye: Across languages.

Jo: Mm-hmm.

Skye: Germans, to be fair, they love their westerns. My dad in Germany, he has been watching westerns for I don't know how many decades. It is one of those things that is just really popular there.

Another thing is anything that is set in other countries and really has the location as almost like a character. There's lots of Cornwall, Scotland, different islands, but also mountains and cities.

So if your book is set in, even in New York City, if it has a clear setting—if it's not just that it could be any city—then that's a good one to think about translating.

In general, most genres can do well. There's a few where you have to be a bit careful. Second World War books, for example. If you have a book that portrays every single German as a Nazi and as evil, it might not do as well in Germany. So some common sense when it comes to historical books.

Otherwise, just look at German retailers, look at what is selling there—and not just Amazon. Places like Thalia, which is part of the Tolino Alliance, and they have about 40% of the market. So it's really important to look at them too, and not just at Amazon.

Jo: We'll come back to the distribution in a minute.

There are some important differences between the German market and the US/UK market.

Obviously we're talking about a different language, but of course there are a few things that are different that some people might not think about. So give us a few of those things that people definitely need to think about.

Skye: Okay, so even before you start publishing, you need to be aware that title protection is a thing in Germany. Your book can't have the same title as an already published book. That is a law that is basically there to avoid readers being confused.

So if you had five books with the same title, readers might not realise which book is by which author. You have to do your research and check if anyone else is using your title.

There are some exceptions—if it's a completely different category, so if there's a children's book with that title but you write spicy romance, then the chance that the reader gets confused is much lower.

Quite often you can then contact either the author or the publisher and ask, “Can I get written permission to use that title?” I did that for one of my series and it was totally fine. Just be sure to get it in writing, because if your book suddenly becomes a huge bestseller, they might reconsider.

So title protection is an important one. You need to research that before you publish.

One thing that people sometimes get confused about is reusing their English title. That's totally fine because it's your own title. So if your English title hasn't been used and you want to keep that same title, that works. It's just about other people's books where you can't use those titles.

Another important legal bit is the Impressum. It's the copyright page. To be fair, websites that are targeting German readers or a German audience have to have that Impressum.

It's usually on page two of the book, and it has things like your legal name, your address, and then the usual things like the translator's name, cover design, and other things you would usually put on a copyright page.

The problem is that technically you need to put your legal name in there unless you have a limited company, in which case you can also put the business name there, and your address.

A lot of people obviously don't want to do that for privacy reasons, especially romance authors where it's sometimes a bit sketchy when it comes to some readers who get a bit too obsessed.

There are services where you can pay a monthly or yearly fee and then use their address. It's a bit of a legal grey zone, but a lot of German authors are doing it because—especially as indie authors—we don't always want to put our legal address out there.

Jo: Just for people listening, I use my accountant's address. That's quite common. I mean, you have to share your address on your email for anti-spam laws and all that kind of thing. As you say, there are ways to use other addresses. That just needs to happen.

What else then do we need to think about?

Skye: There are things about the translator. A lot of things that people are sometimes scared about is when they hear that there is a copyright issue with translators and they think, “Oh, my translator has the copyright. I can't do anything.”

Actually, the translator is seen as an author—almost like a co-author of the translation in German law—because, to be fair, it's not just putting one word into another. Translation is quite a creative job, especially when it's fiction. It is a very creative job where the translator has to put a lot of their own creativity into it.

So in German law, they're recognised as the creator of that translation and therefore have certain rights. But you as the author, as soon as you have a contract with your translator—which is why you always, always, always have to have a contract—you get the usage rights.

This means it's exactly the same as with your English books. You can do with them what you want. You can get audiobooks, you can do print books, you can do whatever you want in different formats. It just needs to be clear in a contract that the translator is giving you the usage rights of that translation.

That's something that people sometimes find a bit scary, but actually it's really simple. Translations have been done for so long. It's a normal thing. It's just called slightly different. It has to be set out in a contract.

Jo: Just on that, that's when the translator themselves is in Germany, because if they are based somewhere else, still doing a German translation, that's not necessary. So that's something else for people to consider.

Skye: Yes, definitely. To be fair—

I would always try to get a translator based in the country.

I mean, I'm a native German speaker, but I've been in Scotland for so long now that I am not confident enough to translate my own books anymore because I'm not surrounded by German 24/7 and my grammar is slightly off and I don't have that up-to-date, modern lingo.

So if it's a translator who's only just moved somewhere else or a few years, that's fine. But if it's someone who's been in the US or UK or somewhere else for 20 years, I would be a bit more hesitant. That's just a personal perspective on that.

One other thing that's different is Sie and du. There are two different kinds of “you” when you talk to someone. There's the formal Sie, which you use basically amongst adults, in business contexts.

But even my German grandma—she had a friend and they used the formal Sie for about 10 years as friends because in German etiquette, the older person has to offer the younger person the informal du, and they never did that for some reason. We found it hilarious as kids that they were still using the formal Sie as really good friends.

So there's an entire culture there that people who haven't been to Germany or haven't lived there for a while just find a bit difficult, because there are so many different unwritten rules about when you use Sie and when you use the informal du.

It's weakened a bit over the years and nowadays even strangers would sometimes use the informal du depending on the context. It really depends. A good translator will usually handle that themselves.

They will find a scene where, for example, especially in romance, you meet as strangers in the beginning, so you use the formal Sie, and then at some point that formality turns to informality.

The translator will usually choose that moment and add a little extra scene or a sentence where they either offer it to each other or they just naturally switch into it. But then there might be an internal little monologue of, “Oh, he just used the informal du—I guess we're at that stage,” or, “I really appreciate that.”

Just to make it more natural, because that's something I quite often see with AI translation where that doesn't happen, and readers get confused. Why did they just switch from Sie to du without any kind of acknowledgement of that?

Jo: This is the same in Spanish and other languages, I imagine.

Skye: Yes, French as well. Italian too, I think. A lot of European languages have this.

Jo: I think that's something that English speakers just don't get. It is a really interesting moment. I guess that might not happen so much in other genres—that really is a thing in romance.

I was just thinking about some of my thrillers. They may never have time to get to du.

Skye: But then sometimes using du can also be a rude thing. So if you have an antagonist who really doesn't like your protagonist, they might just use du as a rude sort of address. Again, that's something that English speakers just wouldn't understand or even think of because we just have the one “you.”

Jo: We just have the one.

Jo: It's the tone. Of course, it's the tone.

Skye: Exactly, yes.

Jo: Okay, well let's get into the actual translation of the books themselves. Over the years I've worked with lots of humans. I've also licensed my rights. I've used different AI tools. I mean, there are tons, but as we record this—

What are the options that are available for translations? Give us some tips on working with humans and finding humans.

Because it can be super pricey. And of course most of us will never know about the quality until we publish it.

Skye: Oh, yes, definitely a note on that. I found that quite often you will already have German people on your newsletter list or on your social media, and most of them will be super happy to give you some feedback on your translation.

That's something I've used a lot. Not for German, because I speak the language, but when I did French and Italian translations. My French is—well, it used to be quite okay. It is passable at best now. So I would never feel confident enough to rate a translation.

So I asked my newsletter list, “Are there any French people here who would be happy to read the book? I'll send you a free copy at the end, and some swag.” There were a surprising number of people who got back to me.

The same applies to German and other languages, because if you don't speak the language, you sometimes lack the confidence of knowing if this is any good. Getting some reader feedback is super helpful.

For finding human translators, the easiest of course is word of mouth, and I'm a big fan of that because you get instant feedback on whether someone is good or not and whether it's easy to work with them.

Then there are freelancer platforms. Reedsy is one where everyone is vetted, so that's pretty good. But there are tons of other ones like Upwork and Fiverr, though there you have to do all the vetting yourself, so that takes a lot more time and effort.

There are also more and more agencies—translator agencies who specialise in doing indie book translations. There's Literary Queens, there's Valentine Translations, there are tons of them.

Then there's also, which I think a lot of authors ignore or don't know about, translation databases. There are two databases for German translators, for example, where you can search and you can usually narrow it down to whether you want literary translators, what kind of fiction or nonfiction you want.

An important thing is that a literary translator is very different from a standard translator who translates birth certificates or formal documents. You want someone who has experience with fiction if you write fiction. Someone who knows about adding drama through language.

Sometimes, for example, when you have an action scene, you might have shorter sentences. If you have someone who doesn't know about stuff like that, they might just think, “Oh, in German it sounds really nice to have this really long sentence.” Those little nuances are where having an experienced literary translator is a big bonus.

There are some platforms that do royalty-split translations that have been quite popular in the past. Most of them I wouldn't really recommend because you just don't get those professional translators there.

You usually get people who speak the language but don't really have much experience. So you might end up with a pretty bad translation, or people might just be using AI translations without telling you.

If you use a human translator, always, always get a sample, because yes, they might have amazing credentials, but until they've actually translated one of your books or a scene from your book, you don't really know how good they are.

I like to always use, if I write romance, a slightly sexy scene, because sex seems to show you if someone can translate or not. It's just what I've found, because if it sounds absolutely awkward or more like mechanical rather than an emotional, spicy thing, then that's a clear point for me to say, “No, thank you. I'll look for someone else.”

Action scenes, sexy scenes, really emotional ones, dialogue that has a bit of colloquial language or humour—those are good scenes to choose as a sample because that really shows you if a translator can do their job or not. Then, again, have some German people from your list give you feedback on that.

Also, if you work with human translators, always try to make sure that they will be available for your entire series.

And not even just a series—if you have lots of books, try to grab that translator, lock them in your basement, and never let them go, because you want their style for all your books.

Just like you have a style as an author, translators have a style and that will always shine through, as much as they try to be as close to your original. A bit of their style will always come through. It helps to have the same translator for at least the same series, preferably for as many of your books as possible.

You really want to tell them in the beginning, “This series has nine books. I want you to do all of these, even if we only do a few of them at the beginning. Are you available to do the rest later?” Because you don't want to end up having to find a new translator in the middle of the series.

That gives you a whole lot of extra work with trying to have a world bible that explains which words get translated and which get left as the original, and stuff like that.

When it comes to non-human translation, it's very different because of course you don't need to do all that vetting.

Tools have different capabilities and abilities, but in the end, if you put your book into a translation tool, you will always get a slightly different output. So it's not quite the same where you need an entire vetting process.

Jo: Just on the human translation, I think I'd be right in saying that every single author in the world would love to have the best human translator translating their book, whatever genre it is. That would just be amazing for all of us. But let's face it, that's extremely expensive.

So if I've got, let's say, a 70,000-word thriller, how much money are we talking about?

An approximate number, so people know what that might be.

Skye: Usually it goes by the word, but by the target language word count. Although it depends on the translator, traditional translators usually go by the target language because that's what they actually produce as their output.

The average at the moment is anything from about seven to nine euro cents per word as the medium price. You will find cheaper people.

You can go up as high as you want really. I have definitely seen translators who charge 15 cents and above per word, but those will usually be the ones who have worked with a lot of trad publishers who are used to being paid like that.

Although even in trad publishing, the rates are going down. With more and more authors wanting translations, I think in general rates are going down. Good for us, not so good for the translators.

You're definitely looking at thousands, even if you translate novellas. Then it depends—some translators have editing included, sometimes they don't.

A lot of them will have arrangements with other translators where they give the translation to another translator for them to edit it. Sometimes that's included in the price, sometimes it's extra.

Always make sure it gets edited, because just like when we write a book, it will never be exactly perfect. I say that as someone who writes very clean because I have a journalism background, so I'm used to writing really fast and clean for deadlines, but there will always be a few typos that just wriggle their way in.

Typos are evil like that. It's the same with translations.

Jo: So we are probably looking at 2,000 to 10,000 pounds, dollars, euros. We are talking about quite a lot, and this is the main reason I think that now, with AI becoming a lot better, people are looking at this.

Originally—and I don't even know, probably eight years now since I did my first, might even be a decade or more—I did at some point do a version in DeepL, which was an early AI translation tool. This was nonfiction, and then paid an editor, a German editor, to then edit that in German. Those books still get good reviews.

But now people are looking at options like GlobeScribe and ScribeShadow, or even just using Claude or ChatGPT. I'm actually working at the moment on a Claude Code pipeline through lots of different QA passes.

That's been really interesting for me, because I can say, “Okay, now you are a reader who likes these kinds of books. Read it for that.” And because we can now put really big books in, I can actually get a lot of really interesting feedback.

So I feel like there's a lot of potential with AI—potential for good stuff, potential for bad stuff too.

So talk a bit about that and what to watch out for with AI.

Skye: Okay, so I'm very much pro-AI and I use AI in lots of different things in my business, just to preface that. However, with translations, I'm still a bit wary, just because I have seen a lot of bad AI translations.

To be fair, I've experimented with it myself for one of my other pen names. It was readable. It was definitely readable. It had sometimes beautiful, gorgeous prose. Really. But there were, occasionally—quite often even—bits where I stumbled as a native speaker.

It's readable and, if I just need a little quick book in between, I would be mostly happy with that. I would read it.

It's the same as some of the early KU days where you found a lot of bad quality writing, but you just wanted to read it because the story was pretty good or because you were reading it in KU and so it didn't really matter that much.

There is that spectrum of quality where you have the, “Yes, it's good enough to read,” but, “Is it good enough to be up to your standards?” That's a decision that everyone has to make for themselves.

If they want the same quality that they put into their English book, or if they're fine with just offering that book to a new audience because maybe you wouldn't be able to do it otherwise.

I totally see that. Translation is so expensive. I don't even know how much I have spent on translations over the past few years. I'm lucky that most of my books make it back within the first weeks or months. I've never had a book that didn't make its money back, but I have heard a lot of people where that's not the case.

It is a lot of investment and I would never tell someone to go into debt or anything to do translations. Do it when you're at a time where you can afford it, or where you can also afford the loss if it doesn't work out.

Now, AI has changed that slightly because it now opens it up to almost anyone. Some of the AI translation tools are a few hundred pounds, but if you do it in Claude or ChatGPT or something where you already have a subscription, it can actually be quite cheap. You can do it for a few dollars or pounds.

I love, by the way, having someone in the UK. I'm so used to automatically saying everything in dollars, but actually I should be using pounds.

I think if you know what you're doing—and you clearly do, with your several passes, you know what you're doing with AI—but if someone just puts their book into Claude or ChatGPT or some random tool, it might just not be good enough.

Jo: Let's say it won't be good enough if you just do that. We know that.

You have to have QA passes—quality assurance. You have to have rules per genre.

There are ways of doing it. It's kind of like you have to get to know how translation works. It's a process. It's not just a translation, like you put something in Google Translate or a menu or something, because we do care. I think that's really important.

Skye: Yes. I think if you don't know how AI works—that you need detailed prompts, that you need a style guide, that you need all that extra material and not just your book, all those rules—then please don't do it.

If you value your German readers—and I think sometimes when I see people just churn out those translations without doing any quality control, using exactly the same cover or even just putting a German flag on it or something—I really feel bad for German readers because they're not being valued as having the same sort of value to us as authors as our English-speaking readers.

Maybe I'm a bit biased there because I read in multiple languages. I want to be able to get the same sort of quality in all languages. I want the author to think of me as being special because I'm their reader and I'm their customer.

I think we are on the way where AI translation can be almost autonomous. I would personally always have a human look over it. I know what I'm doing, and I'm almost happy with my translation system that I've built now in AI, but it still needs that human touch for a few things.

It still needs me to tell the AI, for example, “This is where we switch from Sie to du.” This is where I need to keep certain words in.

For example, I write a lot of Scottish books, and so words like “glen” or “loch”—they are words I want to stay the same in my German translation. I don't want to translate it to the German equivalent of “lake” because that just misses that Scottish context.

Things like that need instruction. A human translator will usually know that and chat to you about which words you want to keep and which ones you want translated. AI just needs our guidance, our helping hand, and if we don't know enough about the target language, we just miss knowing that.

Now, a lot of tools do it all for you basically, and they set up all these rules. I think many of them are at a very advanced stage now. But AI isn't perfect and it likes to hallucinate, it likes to add random things. So I will always still have a human touch at the end, even if it's just a quick edit.

A lot of people think that they just need a proofread after an AI translation, but AI doesn't really make typos—or not to an extent that humans do.

So proofreading isn't really what's needed for an AI translation. It is actual editing where you go for the style, the phrasing, and sometimes the context.

There's one example I always like to give. I have an alien romance where they go on a honeymoon, and because he's an alien and she's human, he misunderstands and thinks she wants to go to an actual moon. So it's a little pun in the book.

It doesn't work in German at all because the word “honeymoon” has nothing to do with moons or planets in German.

An AI would probably just try to translate that in a way that's quite close to the original. But my German translator, she had to come up with several different ways of fixing that issue, because humour is hard. It's hard even for humans to get the humour translated in a way that is still funny but also culturally appropriate.

If you have a book that is full of puns, it gets harder with AI. I am not saying it's impossible, but it needs a lot of handholding.

Jo: Yes, I think humour is hard to translate in general, isn't it?

Let's move on to the distribution, because again, having done quite a lot of different languages over the years, I do use Amazon KU for my books in German and Italian and Spanish and some French.

So I haven't gone wide in terms of ebook and print or audio, in fact, because I have a lot of books and it is hard to go wide in English, let alone in other languages. But you mentioned earlier that Thalia has 40% of the market or something, and that special editions and print books are important.

So what are the decisions we have to make around the actual publishing?

Skye: In Germany they did a really cool thing, and I wish they'd done that in other countries. When the bookshops saw that Amazon was growing and posing a threat to them—not just with print books but also with ebooks—a lot of the German bookstores got together and they formed the Tolino Alliance.

They have big book chains like Thalia, but also I think it was over 1,500 indie bookshops that all got together. They all support this ecosystem for ebooks, which means they all share the same e-readers. They share the same sort of backend for the shops, which made it really easy for them because they didn't all have to develop an ebook system.

It saved them a lot of money. It made it really easy to tell readers, “This is the Tolino system. You can get your books at our bookshops, but you can read them on your Tolino e-reader no matter where you get the books from.” The Tolino e-readers are actually the same as Kobo e-readers, just rebranded.

They've got that big advantage there—these independent bookshops and book chains all got together. Now it's hard to find numbers because Amazon doesn't really like to share their numbers, but it's about 40% of the German ebook market, which means it rivals Amazon. They have about the same.

Then the rest is split by Apple Books, Google Play, and some of the smaller players. So it is a huge chunk of the market.

I'm wide with pretty much all my English books. So for me, I looked into KU, but when I saw that I was going to miss out on 60% of the market—even if Amazon has 45%, that's still a big chunk—I decided to go wide.

To be fair, I haven't regretted it, because Tolino are amazing to work with. I like to compare them to Kobo because they have a really lovely human team where you can just email them and tell them, “I've got a new release coming up,” and they will put you into different promos and it's all free.

Jo: Do you publish direct to Tolino, or do you use Draft2Digital?

Skye: Yes, you can publish direct to Tolino and that's actually the best way of doing it. You don't have access to their marketing opportunities if you use a distributor.

The Tolino dashboard is annoyingly all in German, but by now every browser has a translating plugin built in. I know lots of authors who don't speak a single word of German who navigate Tolino very successfully.

They started with only ebooks in the beginning, and then about two weeks after the first edition of my book on German translations was published, they introduced print books, which meant my book was immediately out of date. I was fuming.

But this time they introduced audiobooks a few weeks before my Kickstarter launch for the second edition, so this time the audiobook part is included. I was very happy about that, because it was a pain to just tell everyone, “Well, this book is out now but it's actually missing a big part of how to do print books in Germany.”

So Tolino does print, ebooks, and audiobooks. And just because you're in KU with your ebooks doesn't mean you can't publish your print books via Tolino. I highly recommend that, because IngramSpark—which most of us indies use for distribution for print books—doesn't get you into the German bookstores.

They used to. Then German stores have fixed price laws where books have to be the same price in all stores, and IngramSpark kept going against that. They kept sending them the wrong prices. So German bookstores at some point just said, “Nope, we've had enough of this. We no longer take books from IngramSpark.”

So now Tolino, in my opinion, is the best way of getting your books listed in German online bookstores, but they can also help you get into brick-and-mortar stores.

One of my books was featured by them, I think two years ago, and it was in about 300 of their shops all across Germany. It had its own little pedestal and it was amazing.

Tolino love working with their indie authors. They also love romance, which is always a bonus because some stores are more prudish than others. It's really easy to work with them. They speak perfect English, so you can do all your communication outside of the dashboard in English.

Their audiobooks feature is very new. Until they did that, it was much harder for German audiobook distribution because places like Findaway Voices and other distributors wouldn't get you into the Tolino Alliance stores for audio. That's a big chunk that we were missing out on.

I was always looking for ways to get my German audiobooks into those stores, but the German distributors that I found were really difficult to upload to, to be honest. I'm a very technical person, but it challenged even me.

I did not like that experience at all. At some point I really just gave up and wanted to throw my computer out of the window.

So when Tolino introduced that, I was celebrating internally. The only problem with their distribution at the moment for audio, because it's so new, is that you can't exclude any shops. So it's all or nothing.

They will get you into all the different places, including Audible, Spotify—you name it, lots of different streaming services and retailers—but you can't exclude any.

So while they don't actually want exclusivity, if you published it yourself at the same time through ACX or Findaway Voices or something else, you would have duplicates, and of course, we try to avoid those.

Jo: Is it human narration only, or do they also accept AI narration?

Skye: They accept AI narration. The thing with Tolino is that they want everything made very clear. If you publish any books with them that have an AI production aspect, you need to put that into your Impressum. For audiobooks, there's a box to tick to make it clear.

Jo: Hmm.

Skye: So they are open to it all. You just need to declare it.

Jo: Which I think should be true everywhere, to be fair.

Skye: Oh, definitely. And a lot of German distributors—while I was researching for this book, one thing I always looked at is, “Do they need you to declare your AI use?” More and more German distributors and retailers now want you to do that. I think that's the way it's going.

It's not a judgement thing. I think it's just making it clear to readers. In Germany, it's all about transparency. That's why there are all those laws with GDPR—everyone will have heard about that one by now. But there are lots of other laws where it's all about consumer rights and transparency, and that's one of them.

Jo: Is there anything else on the distribution side we need to think about?

Skye: One thing I like to highlight is libraries, because that's quite a big thing in Germany too. They love books and bookstores and they love libraries. Some of the ways we get our English books into libraries—like a distributor like Draft2Digital for OverDrive—OverDrive is growing in Germany.

There are other systems like Onleihe, just to name one. You can't get into those through, for example, Draft2Digital or PublishDrive or StreetLib. Tolino gets you into those.

There are also subscription platforms that are growing. I think it's the same as in the English-speaking market. People love a subscription, and I love them. I just don't like exclusivity. So I very much support any subscription platform that doesn't require me to be exclusive to them.

Skoobe is one of them. They used to be an independent platform, and then the Tolino Alliance bought them. So now they're integrated into the Tolino stores. That means it's really prominent.

Basically, any time you go to an ebook on, for example, Thalia, it will have a banner there saying, “You can also get this in our subscription.” So it's taken a while to grow, but actually in December I now made more with their subscription programme than I made in book sales.

I think three of my books were in their top 10 in December. To be fair, that was a pretty good month. But it definitely shows that it can take a while to grow these subscription platforms, but when you do, it can be really successful and very much worth it.

So I highly suggest looking into those sorts of platforms too, not just the standard retailers and the platforms that you're already used to.

Jo: Fantastic. So we've now got translations, they're on the various stores, and then just like in English, one of our next challenges is actually marketing the books.

Now this becomes another challenge, because one of the reasons I am in KU for foreign languages is because you get the five free days and you can do Amazon ads. I mean, you can do Amazon ads for wide books too, but it's easier to know that there are some options for marketing at all.

I don't do email marketing. I don't do social media, so I'm pretty bad at marketing in foreign languages.

So what are your suggestions for those who want to do more active marketing in German especially?

Or even if we don't speak German, it can't be all the personal stuff. But are there also advertising things like BookBub? What are our options basically?

Skye: There are quite a few things. It's not quite as easy as in English, of course, but I think sometimes you have to remember that you already have most of the material for marketing when you've released a book.

You will have made graphics in English, you will have written a newsletter, you will have done some social media posts. All that material is already there, so you don't have to reinvent the wheel.

You can just translate that, and for that, AI translation is really good because it's very quick. You don't have to bother your translator. You can just get that done. That's what I had to remind myself, because in the beginning I did everything from scratch and it took me forever and I was hating it.

Then I realised, well, I could just look at the newsletter I wrote three years ago when that book released in English and translate that. That's done within a minute and I can send that out. So remember that you have a lot of content already.

There's no BookBub or nothing as big as BookBub. There is a site called BookDeals, which sends out newsletters for both reduced or free books and also for new releases. I use them for pretty much all my new releases, or at least always the first in series.

They're nowhere near as big as BookBub, so don't expect miracles, but I generally always break even or a bit more. It's hard to tell, of course, especially if you do several things for a new release. But my instinctive look on this is that it's worth it.

BookDeals is the big one. There are a few other promo sites, but to be honest, I've not really found any of them to give me a positive ROI. I experiment with them occasionally and I listed them all in my book just for completeness, but BookDeals is the big one.

Then there is LovelyBooks, which is the German Goodreads.

Some Germans also use Goodreads, so always make sure to have all your German books listed there. But LovelyBooks is the big one.

I love that place because people are so much kinder than on Goodreads. I avoid Goodreads completely. If I need a review, I send my assistant there to look at reviews. I don't go there. It is scary.

LovelyBooks—the name is kind of telling. It is a more lovely place. People are generally more friendly. They are probably a bit more critical when they write reviews than they are on retailers, but I have found it really nice to build a community there.

You can do these book clubs where you give away a copy of your book, either as print books—or I always do ebooks because I don't want to send books to Germany. Then people discuss the book as a sort of book club and then they review it at the end.

I have had great success with that. I've built up a community of readers who will now buy my books too, even if they don't get them for free. I found some beta readers through that. So I love LovelyBooks.

The annoying thing again is it's in German. However, their support all speaks English and you can email them with questions. They're really good.

Even if you don't plan to run any book clubs or anything like that because you don't speak the language, I would always advise just setting up an author profile there because it makes it easier for your books to be found.

You can track reviews, you can track reads, and that just gives you an extra place to get more visibility for free.

Ads—there's not much difference compared to what you do for your English-language books. The one thing is with Facebook ads, now because of EU data protection laws, it's much harder to target because people can opt out of ads and targeting.

In general, cost-per-click ads are cheaper than in the US or the UK, so that's a bonus.

BookTok is big and only growing there. I don't really do social media for my German books because I just don't have the bandwidth. I wish I could, and I know some people who outsource that.

In an ideal world, I would have a social media account for every single language, but it's not an ideal world and I just have limited hours in the day. But even just creating an account so that people can tag you, so that people can find you, can already be a good start.

One thing that's not maybe a marketing strategy as such, but something I like to highlight, is pre-orders. If you write in series, always, always make sure that the next books in your series are up for pre-order, because—

German readers have been burned so many times by authors or even publishers who just translate book one in a series and then stop.

They are quite hesitant sometimes to start a new series when they see it's book one of something and they don't see the next book up for pre-order. To be fair, it's similar in English.

I always make sure to have a pre-order up for the next book. Because people would just not read the series until it's complete or until they know it will be complete at some point.

So always set up a pre-order if you can. Don't set it up when you don't actually know when your translation is being done, or choose a date far in the future.

Just make it very clear to your readers that you are intending to translate the entire series, that you're not going to disappoint them, that they're not just wasting their money on a book one only to never find out what happens next.

Jo: Fantastic. Well, this is a big decision for people to make, I think, because there's no point in doing one book in German and then not doing anything else, in the same way as doing one book in English or any language. You have to think about investing in an audience. So lots for people to think about.

The book is fantastic. It's called Self-Publishing in German.

So where can people find you and your books online?

Skye: For my author-facing things, just go to SkyeMacKinnon.com/authors, and there you find the book about German translations. You also find more information on what I do.

You can book consultations with me. I love doing those one-to-ones, especially about translations, because you can really dive into someone's catalogue and look at what would be a good strategy for someone, rather than just in general.

Otherwise, it's SkyeMacKinnon.com for all my romance. If you want adorable children's books, it's IslaWynter.com. That's Wynter with a Y.

Jo: Brilliant. Well, thanks so much for your time, Skye. That was great.

Skye: Thank you so much for having me.

The post Self-Publishing in German: How to Translate, Distribute, and Market Your Books with Skye MacKinnon first appeared on The Creative Penn.