Indie Author Spotlight: Nicole Givens Kurtz

[This interview first appeared in the January/February 2025 issue of Writer's Digest magazine.]

Death Violations Trilogy, Sisters of the Wild Sage, Kill Three Birds

(Cyberpunk noir, weird westerns, fantasy mysteries; Mocha Memoirs Press)

I received my first publishing contract in 1998 from an online small press. Before my book reached the editing phase, the company closed. I had already submitted the manuscript to agents and traditional publishers for several years prior. It was then I decided to publish the manuscript. This was at the dawn of e-books and print-on-demand technology. A few places had begun offering software to assist authors with self-publishing. The responsibility of being able to control your art is heavy but rewarding.

Yes. All three of my Cybil Lewis novels were initially published by Parker Publishing Company. The first two books received a small advance and a dedicated print run. My first fantasy novel, The Soul Cages, was also traditionally published by Double Dragon Publishing out of Canada. I still submit my works to traditional publishing outlets because I would like to reach a larger audience. As a self-published author, I have more creative control, but I am also responsible for all of the marketing and outreach. I understand I would need to do this as well if I land a traditional publisher, but I enjoy getting new ideas and working creatively with editors. Self-publishing can create an echo chamber, and I don’t want my works to become stale. Not everything I write is fit to be published, so I like to submit to traditional publishing houses to get feedback on my work.

Order a copy of Nicole Givens Kurtz's Death Violation Trilogy.

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The community of fellow authors who are all working to share their stories with readers. I also like the creative control indie publishing provides to authors. The editor and cover artists have a vested interest in seeing your work succeed, because every title published comes with the blood, sweat, and tears of the creative team. Most indie publishers’ profits are balanced on a knife’s edge, so in essence, they work harder to produce quality work. Finally, I like indie publishing because they’re able and willing to take risks. Some of the most stunning and unique concepts for stories are derived from indie-published works.

Marketing and getting your work out there in front of readers. The market is oversaturated with books due to the ease of self-publishing technology. I do believe there’s good quality books being created by self-published authors. There are many examples, such as The Martian. There are also many not-so-great books being created as well. Those with poor editing, poor cover quality, and weak character development too. As a reader, it may be difficult to navigate through the millions of published titles at an online retailer. As an author, it is challenging to get your work noticed due to the overwhelming chorus of other authors screaming, “Buy my book!”

That writing is a business. I focused solely on my craft that I didn’t spend enough time learning the business mechanics of being a writer. The taxes, the retail pricing, the marketing and advertising of publishing a book were things I had to learn quickly and often as I was actively producing work. Of course, when you self-publish, the number of business details increase, but when I was only traditionally published I expected—naïvely so—that my publisher or agent would handle those aspects. Those days of sitting back and watching the royalties roll in and only working on the next book are behind us. In my opinion, those seats are reserved for the large named authors, King, Patterson, etc.

Continue reading, and read diverse authors and indie authors as well. Without being a reader, it is difficult to be a writer. When writers spout they don’t have time to read, I think they most likely shouldn’t have time to write. Reading recent works not only encourages us to continue writing, but it also exposes us to new techniques in storytelling and world-building.

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My best publishing or business advice is to be organized and consistent. Record everything—sales, meals, costs, travel, taxes, etc. Create a system that works for you or use one already established like QuickBooks or other avenues to keep up with what you’re spending in terms of publishing and what you’re receiving.

I often tell writers who are publishing traditionally that money should always flow to the writer. A traditional publisher shouldn’t ask for money, in any fashion, in the creation of the work.

There are two self-publishing parts that I never skimp on: editing and cover art. Books are often judged by their covers and a quality cover that rivals or stands beside those of a traditional publishing house is worth the money. Secondly, this is a tie really because both are equally important, is in-depth quality content and developmental edits. It does no good to have a fantastic cover and a poorly written or edited text. Authors are looking to cultivate a readership. These two things are integral to establishing a readership’s trust.

Website: NicoleGivensKurtz.net
Instagram - @mochamemoirspress
TikTok-@mochamemoirspress
BlueSky-@ nicolegkurtz.bsky.social
Twitter (X)- @nicolegkurtz
Facebook facebook.com/nicolegkurtz
Buy Me a Kofi at https://ko-fi.com/nicolegkurtz

2024 Ret-Con Guest of Honor
2023 ConCarolinas Chris Shrewsbury Legacy Award
2022 Atomacon Palmetto Scribe Award winner- Best Short Story- “Dogwood Stories”
2022 Atomacon Palmetto Scribe Award winner-Best Novel/Novella- A Theft Most Fowl
2021 Atomacon Palmetto Scribe Award-Best Short Story (2021) “The Guardian”
2021 Ladies of Horror (LOH) Writers Grant
2021 Book Riot’s “6 of the Best Black Indie SFF Writers You Should Be Reading”
2020 The Horror Writers of America (HWA) Diversity Grant Recipient

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