Opinion: If Indieland Must Have Gatekeepers… by Dan Holloway
Indie author and poet Dan Holloway considers whether it's possible to implement quality control standards in the world of self-publishing…
Why Literature Should Be More Like Art by Dan Holloway
OK, first, when I say literature should be more like art I know I’m saying something fundamentally wrong. Because I’m…
Indie Authors Take Note: Prestigious UK Folio Prize Is Open To Self-Publishers.
The Alliance of Independent Authors's Open Up To Indies Campaign welcomes the news that the newly established Folio Prize, with…
Literary Festivals, Book Events and the Self-published Author. By ALLi Community Builder Dan Holloway
As self-publishing becomes more common, and increasing numbers of indie authors achieve both commercial and critical success, literary festivals urgently…
Why Indie (For Me) Means NOT Having A Publisher
Steena Holmes recently wrote a post for this blog explaining how the great thing about being indie, for her, was having the freedom to have it both ways: to self-publish or trade publish, as it suits her. Here Dan Holloway explains why the step into trade publishing is one he won't be taking — ever.
We are increasingly hearing about the hybrid model, with authors deciding for which books and in what ways to engage publishers and/or agents, who then become partners, singing to the author’s tune.
Whilst I have to say a part of me wonders if there aren’t some elements of utopianism creeping in, it is certainly true that many agents and publishers are starting to change the way they view their relationships with authors. And I certainly think what writers are doing, taking the reins – or at least setting out to – in these relationships, is fabulous, and definitely in the indie spirit.
Superb Self Publishing – the Motherlode for Overgrounding
Self publishing is at the cutting edge of the most interesting, radical and provocative writing that's happening right now. Dan…
Writer: Who Are You? A Guest Post by Dan Holloway.
OK, I’m the first to admit I’m subject to a not insubstantial influence from Ginsberg, 
Cassady, Patti Smith and various other parts of late mid twentieth century American countercultur — but this really has nothing to do with navel-gazing, primal screams or the Age of Aquarius. Just like those slightly awkward elements of hippydom, though, this is one of those topics that makes authors shift uneasily in their chair, shuffle and generally look for an exit.
I get why writers resent the question: “What do you stand for?” You can understand it in two ways. First, it sounds like a