Self-Published Authors Have Great Power, But Are They Taking Responsibility?
By Jane Friedman | October 28, 2011 |
There’s incredible emphasis these days on how authors have more power and control than ever in deciding how and when to publish.
And I am guilty of propagating this message far and wide. You can find it mentioned in nearly interview I give. Why? Because it’s true. Technology has enabled us all to be active creators and distributors, without needing anyone’s permission or approval.
However …
There’s something I teach my students in media ethics called The Golden Mean. Aristotle believed that we ought to strive for the middle between extremes as a way of finding our virtue.
I worry that all this proselytizing about empowerment is starting to become so pervasive that writers now assume there’s nothing that a publisher offers that they could possibly need. Or that professional help would have little or no impact on the quality of their work or future career.
Nothing could be further from the truth.
Here are three reasons why.
1. You’re not pushed to higher quality.
Working with professionals should challenge you. It should raise the bar. You’ll probably feel some doubts about the quality of your work. This is a good thing. Professionals usually understand and build off your strengths, and minimize the appearance of your weaknesses.
One of first things I teach my writing students is you need someone you trust to push you—to tell you where things aren’t working. Most people don’t have that gift of being so distant from their work that they can see objectively where it’s succeeding or failing. Even the writers who DO have that power usually have decades of experience and self-knowledge—from being pushed.
Yes, my argument does mean: To develop to your maximum potential, you need someone to create a little discomfort.
2. To compete amidst all the noise and distraction, we need the most professional quality possible.
All of you who are about to say, “Publishers put out bad quality work all the time,” stop right there.
I don’t care about them; I care about you. And since when did saying, “Since they screw up sometimes, then I have permission to screw up too” become a defense or a smart rationale?
It’s very common now for every John, Dick, and Larry to instantly publish their work using any number of services available. Yep, there’s a lot of crap out there.
That’s why quality work that has a professional touch stands out. Way out.
You think readers can’t tell? I beg to differ. There are subtle cues in every product and service we purchase—small signs that indicate “quality.” People may not be able to name them or point them out, but they feel them.
The disadvantage for independent authors is their lack of knowledge about what professional quality is or looks like. Traditionally published authors who go indie don’t have this problem as much. They know the process; they know the huge improvements that can be made by a professional. But people who haven’t experienced that professional touch may not yet have a good measuring stick—which only further necessitates the involvement of a professional, whether on the editing, production, or promotion side.
I do admit that an awful lot depends on knowing who to hire or partner with, but let’s set aside that concern for now.
3. Not everyone wants (or has the time) to immerse themselves in media, production, and technology.
I’ve taught enough writers by now that I realize some people just don’t have either the interest or the patience to do things on their own. They prefer a partner or professional assistance.
You may know how to cut your own lawn, but it doesn’t mean you want to do it—and it’s not illogical to hire it done if you have the resources. And, as Jason Black commented on my Facebook page recently:
Let’s not be fooled: tools do not make anyone an expert in anything. I have a bunch of pretty nice woodworking tools in my garage that definitely do not enable me to produce furniture anyone would want to buy. They do let me work on projects in my yard that are good enough for me and not worth hiring somebody to do for me, but that’s not the same as “good enough to sell to someone else.”
Final note
Don’t mistake me. I do believe in author empowerment and independence. You do not need a publisher.
But some writers can greatly benefit from partnerships or professional assistance, in different ways, and at different times, in their careers.
What if you took a one-week class with me that focused on how to become a power blogger? If I taught you in one week what it might take you one year to figure out, would that be worth the investment? Maybe; it depends on your goals.
There are some things you can figure out on your own. There are other things you want to be taught by an experienced professional, to shorten the learning curve. And finally there are those things that you may never be great at, and that you hire help for.
Part of a successful career is understanding the difference between these things, based on your aptitude, time, and resources.
Photo courtesy Flickr’s Pink Sherbet Photography
Jane Friedman has more than 20 years in the publishing industry, with expertise in digital media and the future of authorship. She’s the co-founder and editor of The Hot Sheet, the essential industry newsletter for authors. You can find out more about her consulting services and online classes at her website, JaneFriedman.com.
This is exactly what I tell people when I say I’m trying to get published, and they shoot back with, “Oh, just self-publish. Everyone else is doing it!”
If my work is not good enough for publishers to get excited about, why would I expect the general public to get excited about it? Why would I go it alone, and risk making huge mistakes along the way, when I can have an agent or publisher draw from years of experience to provide me with advice?
For some people, self-publishing is the way to go. For others, traditional-publishing is still the best solution. Having options is a good thing, and it frustrates me to no end when I’m told I’m being a fool by not jumping on the self-publishing bandwagon.
It took me nearly 35 years, but I finally took the bull by the horns and self-published. The stigma held true to me that SP is so often low quality because an author did not take the time to perfect the product. My ms was proofed SO many times by SO many people (and there’s still a spelling mistake), but I would not put something out there that misrepresented my passion for the craft. I am an author and a professional and I refuse to share something of lesser quality. As a teacher I do not accept sloppy work, therefore I must follow my own advice. I love to write. I love YA and this is what I want to do with my life, so why would I half-ass it?
I disagree with the premise that books don’t get selected by traditional publishers because they’re not “good enough.” There are many reasons — market conditions, concerns over marketability, etc., that have nothing to do with the quality of the work.
Have I read some bad self-published books? Sure. But I’ve read some real gems, too. I’ve also read some traditionally published books that were so bad I wanted to cry.
I don’t see this article as a traditional vs. self-publishing debate.
Whatever our path to publishing, I agree we should surround ourselves with quality people, honing our craft and producing the best possible product, regardless of our method for bringing it to market.
This is one of the most needed posts I’ve seen on this topic in a long time. Thank you for tempering the DIY madness with a dose of realism.
Jane, I would love it if you’d address this point some time, possibly in a future blog post: “I do admit that an awful lot depends on knowing who to hire or partner with, but let’s set aside that concern for now.”
I see that not-knowing as a significant barrier for self-publishing writers who want to push themselves to a higher standard. Could you give people an idea of where and how to find helpful professionals?
@Jan – Yes! It can be difficult to know when you’ve got the right person. I briefly addressed this issue in a previous post for Unboxed, here:
https://staging-writerunboxed.kinsta.cloud/2010/03/19/should-you-hire-a-professional-editor/
The comments section is full of suggestions of where to find reliable help. If *I* were looking, I’d find someone with previous traditional publishing experience (whether as an author, editor, agent, publicist, etc); you can find many independent professionals via PublishersMarketplace.com.
You can also ask people in the industry—who have no agenda—who they highly recommend and would hire if they needed assistance. (E.g., look for the freelancers that traditional publishers hire.)
Also, sometimes fabulous suggestions can come just from posing the question to everyone on Twitter or Facebook. But always make sure you investigate the background of the person making the suggestion!
Hope that makes sense.
Jan — you may also be interested to read a recent guest post I wrote for Joel Friedlander’s The Book Designer site in July: https://bit.ly/raJKiw. In that, I address the question of how to evaluate the professionalism of all the names that come up when you search for book consultants, book shepherds, book midwives and suchlike.
BTW, I’m not touting for business here :-) The Book Doula (my moniker) is about to “retire” and I’m launching a new brand identity focused on a corporate audience. I regard the discipline of writing a good book as having both personal and professional development benefits…but that’s a whole other topic.
I agree the first three commenters. With Chro, in that people always ask me why I don’t ‘just go ahead’ and self pub, and have been for years. I look back at the state my work was in when they first started saying it, and am grateful I had the wisdom not to listen. With Ben, in that this is a much needed post. And with Jan, in that it can be difficult to find the right help, or even places to start looking.
And your most zen moment here, my Zen-Master, is asking: since when is the inadequacy of others a smart rational for our own actions? So spot on!
Thanks, Vaughn. ;)
Excellent post, Jane, and an important one.
During a 15-minute session “blue pencil” session at a writers conference I attended this past weekend, I received some professional feedback that has changed the course of my novel.
I thought I already had an excellent premise and set up but someone with an experienced eye was able to offer me a nugget that will take my book to the next level.
Just because technology and the shifts in the publishing world mean we CAN easily publish ourselves, doesn’t mean we should.
It is extremely difficult to be objective about the quality of your own work no matter how experienced or talented you are.
I’m a traditionally published author and I have the utmost respect for indie authors. Some of them are really helping take our profession to the next level. That said, I also have a profound and healthy respect for the editorial process that we go through as traditionally published authors. It’s not perfect. It’s not easy. But every time I’ve gone through it, I’ve learned a lot and become a better writer. Thanks for this post.
Love this post, Jane.
I keep asking myself, “Do I feel as comfortable reading a self-published book as I do reading a traditionally published book?” The answer, I am sorry to say, is “no.” At least today, that’s my answer.
While we can all list at least fifty grumbles we have with the world of publishing (including the grumble that a LOT of garbaggio gets published), I know that my book will be so much better with, now, three rounds of edits by my dear and dedicated agent.
Professional help and a fresh, experienced set of eyes are essential.
Thanks, Jane, for this great post.
As a self published author, I set myself to the highest quality standard of cover, lay-out and editing I could find. This is my new career, and as with everything else I’ve ever done, I had to give it 10000%. I feel that my book could match up against anything that has come out of the Big 6 lately. And I will continue to keep that standard high. I don’t want to be found as lacking anywhere.
Thanks Jane.
I totally agree! Other than the grueling promo part of SP, this is the way to go if you are serious about writing and don’t have the time to wait to be “discovered”:)
What a great post, and so timely. I have books with a publisher and I’ve self-published. Another author and I were talking about something similar just this week, and we both agree there are benefits to going the traditional route even with all the benefits of going indie.
My belief is that it’s a good idea to straddle both fences and use both forms of publishing to compliment each other. That’s what’s working for me right now, at least.
But no matter which route an author takes, it’s important to produce excellent work each time. Hire an editor and make sure your book cover is well done. When authors don’t do that, they make us all look bad if they churn out work that’s poor quality.
i loved every word of this!
all the reasons i’m making mine agent worthy =)
miss your wd posts since you all switched stuff!
Thanks, Tara!
If you liked my WD stuff, you’ll love the daily blog on my own site: https://janefriedman.com
Hope you’ll look me up there! :)
Jane, my views exactly. Needs to be said and spread far and wide. I’m planning a post about this, too, and will include a link to yours. Thanks for being a voice of reason.
Such a timely reminder this – it seems the amount of self-published work is growing exponentially, and so much of is in dire need of an editor.
And yes, I’ve self-published (just out on kindle – the real book with follow), but this book has been nurtured for 18 months by a mentor (without him I’d never have published it), and then been through a thorough copy-edit. I am, now, proud of it.
But that doesn’t mean I’m off to publish every story I’ve ever written. If I ever launch another book, it will have gone through the same process.
[…] was my regular contribution to Writer Unboxed. I discussed how some independent authors are putting their work out there with zero […]
An interesting post, Jane.
While you’re absolutely right that authors need to take responsibility and get their product as best they can, it’s clear from some comments that this is taken as a reason to forego self-publishing and chase the dream of traditional agent-publisher, which for most will just end in frustrated tears.
More importantly you really miss the point of why indie authors are doing well without the professionals. Chro summed it up in her question in comments:
“If my work is not good enough for publishers to get excited about, why would I expect the general public to get excited about it? Why would I go it alone, and risk making huge mistakes along the way, when I can have an agent or publisher draw from years of experience to provide me with advice?”
Chro, there are thousands of reasons why a publisher won’t get excited about your work, and its not being good enough is just one of them.
Good enough for what, exactly? The professionals churn out new books week after week. As we all know, 90% never sell a thousand copies and those authors are never heard of again. So much for the professionals’ seal of approval.
The books they do take on are taken on on the basis of how much money they think they will make. Just look at Snookie, that well-known wordsmith. Her novel must be good on this criteria, otherwise the professionals wouldn’t have approved it.
The professionals have an agenda. It’s called making money.
If your book fits their latest tick-box guesses at what will be hot in two years time when the book finally gets printed, then lucky you. They might even give you a small advance, before taking over your book, forcing you to rewrite to suit their preconceptions (remember these are the guys who have a 10% success rate), landing you with a shite cover you hate, and then expecting you to do all the promo. And for 15% if you’re lucky.
Of course its great to hire professional help where you can, but tying your future to a business model with a 10% success rate is marginally less sensible than hoping to win the lottery.
Chro, you said “when I can have an agent or publisher draw from years of experience to provide me with advice?”
Years of experience means very little if said experience has a 90% failure rate, despite all those professional resources they have at their disposal, and until recently a monopoly on distribution.
A year or two ago we had no choice. the “professionals” knew that and abused that monopoly with dire royalties and contempt for authors.
Now thirty per cent of the amazon top 500 sellers are indie. What does that say about the ability of the professionals to compete? What does that say about the appeal of the trad route to writers with ambition.
Writers would be far better off self-publishing first, taking such “professional” expertise as they can afford, and using a small press to give them a leg-up if they wish, and let the professionals come knocking at their door once they’ve proven the market.
I think both methods of publishing have their pros and cons, so just to be clear, I have no interest in promoting one over the other. But I do have one problem with what you have to say, Mark. Why is it better to not trust someone who has a 10% success rate (the traditional publisher–and let’s be frank, that depends on which publisher), and instead trust someone with a zero percent success rate (the writer) who happens to be a bit biased in the deal?
Excellent response. In this day and age, one of the most difficult paradigms to overcome appears (to me) to be the inability (or unwillingness) of some individuals to embrace change, which ocurrs in all aspects of life; it always has, and it always will.
People are often quick to dismiss the non-traditional ways of doing things, which to me is usually a futile attempt to preserve a methodology or business model that might have completed it’s life-cycle. Tradition has its place, but it is not the end-all, nor is it the be-all. There are just too many newer and better ways to conduct business today.
It reminds me of the recording and computer industries over the past few decades. If you weren’t signed up with a major record label, you weren’t on vinyl; and if you didn’t own a PS1 from IBM, you weren’t personal computing. Enter, independent record labels, Bill Gates, and Steve Jobs, each of whom deviated from the traditional models…and as they say, the rest is history!
I applaud the fact that writers now have alternatives to producing and selling their work. Those products that are not of quality will not sell…and the seller will go out of business. It’s the same with any product or service, regardless of who is selling it.
If everyone remained reluctant to take a leap of faith and deviate from the norm at some point in time, we would have none of the things that have forever transformed our lives, most of which were for the better.
I believe that the utility of some things do stand the test of time and should be incorporated, but along with that, new ideas and efficiencies should be embraced. Only then will we improve not only the quality of our products, but we will also be providing consumers with more choices. Isn’t that what the marketplace of free enterprise is really all about?
From someone who has yet to complete the first draft of her first novel, this is important information. The WWWorld is awash in this idea of self-publishing (and ebooks) and I have to say that much of what I read isn’t quality in the least. I wonder if it’s primarily a financial decision that motivates one down the path of self publishing? I couldn’t imagine any other reason why someone would go that route if it weren’t for lack of funds to pay the professionals.
“The WWWorld is awash in this idea of self-publishing (and ebooks) and I have to say that much of what I read isn’t quality in the least. I wonder if it’s primarily a financial decision that motivates one down the path of self publishing? I couldn’t imagine any other reason why someone would go that route if it weren’t for lack of funds to pay the professionals.”
Exactly how do you choose your ebooks, Janece? Do you deliberately seek out rubbish so you can maintain this fantasy that self-published books are inferior products?
Rubbish exists in all walks of life, and all fields of entertainment. I’m guessing you make informed choices before you watch a film or a TV program. Evidently you don’t when it comes to self-published books.
What’s rubbish is to assume that because someone has read bad self-published books, they’ve somehow missed all the good ones out of pure spite.
Sorry, Mark, but it doesn’t take a second on Google to check out Amanda Hocking, for instance, and find endless typos on the first few pages of her self-published works. If you read the entire book, aside from great storytelling, there’s poor pacing, more grammar mistakes and the occasional derivative characterization. Poor self-published books exist and they are a bad advertisement for the industry. And I liked her stuff. Bad self-published books are not hard to find. And frankly, the way most people find self-published books is with the assistance of a 99cent price tag and Amazon’s questionable review system. No one WANTS to pay for bad books.
You clearly believe in self-publishing–that’s great. But if you want to point at the beam in traditional publishing’s eye, you should at least admit to the one in your own.
Not sure what you mean, Janece, about choosing self-publishing because of a lack of funds to pay the professionals–in the two main routes of publishing, the self-published author contracts out professionals for editing and/or cover art. In the traditional route, the author does NOT pay a dime. In the traditional route, an author is offered an advance or a contract, and that author is paid out after the book brings in money for the publisher. The author’s agent (if there is one) is paid his or her commission out of what the publisher pays the author.
There are as many reasons to choose a self-publishing route as there are authors who self-publish. And with more rights reversions from mid-listers, more options available to authors, and more authors successfully launching self-published books, the stigma of self-publishing’s general perception amongst the industry crowd is falling behind the reality and the perception held by the general reader.
Jane’s post brings up some interesting and unique points–especially in terms of a writer being pushed to higher quality. But there’s no guarantee that it will be the agent or the editor pushing the author to this. Over the years, I’ve learned of countless writers who wanted to expand their repertoire, only to be told that “more of the same, but different” is what’s expected of them. Ultimately, it is the author who is responsible for his or her own drive to become better, no matter what publishing route they choose.
Great post, Jane! I’m one who’s chosen to go indie as a first-time author, but not without a close examination of the pros and cons and a good developmental editor at my side.
Your first point is *so* key to improving as a writer and to ultimately succeeding. My editor fills that role – she pushes me to be better than I usually think I can. And she’s almost always right. We as writers need that objective set of eyes to help us get better and better as we build our skills. Without that external perspective, it’s insanely difficult to get there.
I think you’re right: some writers are definitely rushing to publish. However, the more the technology and means evolve, the more it seems like the majority of independent work is becoming much like the majority of “traditionally” published work. Which is to say, much of the “traditional” market–at least for fiction–has been (recently) midlist. Perfectly competent, totally adequate, does the job.
Truthfully, most published work has “done the job,” so to speak, and truly quality work is exceptional. That’s really not changing, and probably never will.
I wonder about your first point. Not about striving to be better or achieve higher quality (because of course one should). Really more in the sense that, honestly, it seems like if you really want to work with professionals and find mentors who will challenge us to achieve more, isn’t one more likely to find that sort of guidance in MFA programs? The days of Maxwell Perkins and Gordon Lish and close work and relationships between authors and editors is, with rare exception, for the most part over.
Anyway, nice post, as usual.
Thanks for the great comment & question, Will.
I agree that truly quality work is exceptional. Corporate publishers have been overpublishing for years in order to meet revenue goals.
I equate MFA programs with providing the time, space, and community to nurture one’s writing. You can improve your work and be pushed at the right kind of program, but it’s just 1 path out of dozens that can help you in that way.
I know that people think the Maxwell Perkins days are over, and certainly that’s true to a great extent in Big Six publishing world (it’s bottom-line driven, not arts/literature driven), but the new tools/technology that permit authors to self-publish also allow small/indie presses to flourish. Anyone with the skill & talent of a Perkins who has the motivation to start a press can do so with almost zero start-up costs. I think we’ll see more and more of this phenomenon as Big Six publishers decline to take on more risky work, especially literary work.
I hope you’re right, because I’m one of those upcoming writers who feels at see all by herself and could really use a good old-fashioned collaborative relationship with an editor or agent.
Thanks for the interesting post.
I think you’re having a major misconception about indie published works. Why would you assume you wouldn’t be working with an editor if you’re self-publishing. My indie books can stand up to any traditionally published book, in both content and image. I work very closely with an editor of my choice.
If you’re going to publish, you should be planning on getting very intimate with the editor of choice.
Terrific post, as always, Jane. It comes down to being aware of not knowing what you don’t know — which sounds paradoxical, but I think you nailed it in your penultimate and final paragraphs.
The problem lies in the fact that most of us have written lots of things over the course of our lives — from personal letters to emails, from college term papers to articles for a newsletter. This tends to lead many people to think they can write a book. But that’s a whole other ballgame.
The two biggest issues that I see most self-published nonfiction authors stumbling on are knowing who is their target audience, and understanding how a book is structured so that it’s a compelling read.
There are several ways around this: reading a lot of nonfiction, with a mind to discovering how published authors have targeted and structured their books definitely helps (and I’m dismayed by how many people tell me they’re writing a book but then, in the next breath, admit they never read any).
The other approach is, as Jane advises, to attend a workshop or pay a professional with a proven track record to reveal insights you might otherwise have missed.
Finally, Nathan Bransford issued a poll on his blog recently (https://bit.ly/oYPgZh), asking how many had ever read a self-published book. The ratio was 69:30 in favor (which surprised me at first, but Nathan’s readers are likely not representative of the general public). Read the comments and count how many times “crap” is mentioned. It seems that few will take a risk with a self-published book unless it’s been personally recommended, or written, by someone they already know.
When you self-publish an ill-thought through, poorly structured, unedited book you’re certainly harming your own reputation. But more than that, you’re only perpetuating the belief that most self-published authors can’t be trusted to do the right thing and take the responsibility that Jane urges us to take.
Hi, this is a great post. I like the discussion, but like Will I have an issue with the assumption that going indie means you don’t look for ways to improve your writing. As an indie publisher, I seek out critiques and feedback from my close network of writers and readers. I get my stories edited and I strive to put out a book that people will want to read.
My main reason for not going the traditional route is the timelines. In the time it takes to put out one book in the traditional route (3 – 5 years I understand) I can give my readers 10 to 20 books.
The main challenge I have as an indie is finding my readers. But, I’m a reasonably intelligent person, I can learn.
I agree, don’t rush to self-publish, or publish with an agency for that matter. I was forced to set my book aside by my mom’s illness and subsequent passing. Three years later I brought not only fresh eyes to the manuscript, but a battered and much wiser heart. I believe the many rewrites since the novel’s “birth” about 7 years ago (followed by professional editing) made it a much better book than it would have been back when I first thought it was finished. My goal was to not only write a good story, but to have people see it and read it and not be able tell whether it was self published or released by a “professional” publishing house.
I’m in the process of independently publishing my first novel, St. Anne’s Day, which I took painstaking effort to write and polish. I’m all for indie publishing, but many of the people who have traveled this publishing road before me advocate churning out books every few months or so. I don’t see how you can turn out quality work that fast. That being said, the greatest tool for screening for quality is the downloadable sample for my Kindle. If the book starts off with consecutive paragraphs of telling and not showing, it pretty much shouts less than stellar quality.
This is an important topic–one that needs to be discussed. All the comments have valid things to say, too.
What a lot of newbie writers don’t understand is that learning to write well takes a very long time. If you’ve only been writing a couple of years, you probably need lots of help getting a book to a professional level.
But if you’ve been at it for years and haven’t made it into the Big 6 because you don’t write to trends, then this advice isn’t for you. (except #3. Big 6/small pub/self-pub or whatever, getting help with publicity can be a life-saver.)
I had a book rejected by an agent a few months ago with a heartfelt letter of apology. She said she loved it and “don’t let anybody tell you to change a word.” But she had to give a regretful pass because she could only sell things that fit a certain trend and demographic.
The same week another (much less experienced) agent said she’d take it on if I rewrote it to fit the trend.
I chose to take it to a small publisher, who was very happy with it as is, because he was looking for quality, not WalMart sales. Would my book have made more money if I’d gone with agent #2 and the trend?
Nobody will ever know.
But I do know that with the small publisher, I’ll be in print a lot longer and will have time to find an audience that will still be buying my books when that trend is long over. And I have a book I’m proud to promote.
This is great, Jane. I just wrote about this, too, but I as always I love your sensible and sassy approach.
I also appreciate the conversation this engendered about why people self-publish and about our standards for our writing.
Thanks!
My recent post: Avoid Sloppy Self-Publishing:
https://www.originalimpulse.com/blog/sloppy-self-publishing/
I’m sure there are lots of writers maybe self publishing too early. I’m sure there are writers who are putting out sloppy work, maybe for a lack of knowing. I’m sure there are some writers self publishing, who will stop after one or two books. But I’m also sure there are writers self publishing who are in it for the long haul.
All the writers I know who have chosen to self publish have taken the responsibility in all all areas in as much as they can afford. These writers aren’t slamming the publishing industry. These writers have been writing for years. These writers know what they are getting into.
So I’d have to say yes to your question. In my experience, self publishers are taking responsibility.
Jane, thanks for a great post. I just finished my novel and am looking hard at both options, as well as all of the arguments in this debate. I can say that if I go the indie route, I’ll probably hire an editor, even though I’ve had my novel read by numerous beta readers and have revised it through six drafts. That’s one way, I suppose, that anyone who self-publishes can take responsibility to keep quality standards high.
This is an interesting article. My novel “Black Girl @ the Gay Channel” was shopped by my agent to major publishing houses. S&S kept it for 8 months. Turns out they had a similar mss that was about to hit bookshelves. Suffice to say – the writing in my novel was MUCH BETTER and MORE ENGAGING, however, the other author had a following as a non-fiction writer. Turns out his MAJOR EDITOR also edited another book I read this past summer with exactly the same chapter structure and in some cases the same word replacement/usage! I worked with an editor when I decided to self-published. He was just OKAY. I found a lot of mistakes on his part each of the 10 times when went back and forth. It’s up to the writer to put forth their best work. And this process of “best work” germinates over time, maturity, reading, listening, and working your writing muscle. A professional can elevate your writing IF you’re paired with the right person at the right time. Thanks for reading!
I think you can tell what an important topic this is, and what a great post, from all the passionate comments that have ensued.
Thanks for starting this discussion and, as ever, giving us good points to consider.
(An aside: The title threw me at first. It seems a bit accusatory, whereas the content of the post isn’t at all.)
Dear Jane,
Thank you so much for this fantastic blog. I subscribe by e mail and every time I ask myself a question, you pop up with the answer. I guess we all go through the same cycles, but you seem to be tuning into the dilemmas we face like no one else!
I believe we should get professional help as much as possible and as much as we can afford to…
What happens if you lose trust though?
For example, I signed up with a publicist after she told me how much she loved my novel, and that she had only twenty pages left to read, and that she would get back to me as soon as she had finished. This convinced me to sign up with her – isn’t it every author’s dream come true, to be represented by someone from the book’s target audience?
The weird thing is that the same publicist never answered my three e mails since I’ve signed the contract a month ago. Before I signed, she was efficiency incarnate and those emails were direct reactions to a newsletter she sent, a link she gave and a promise she made.
After one month I naturally wanted to know what she thought of the ending, (especially as the ending defines the wider audience with a kind of surprise element like in the alchemist) and I’m working on the form she sent me for the campaign, which starts in Januari. Not getting a reply indicates that she never read it in the first place.
Isn’t that a bit the problem of self publishing? That professionals will commit to working with you, even feigning enthusiasm, just because they want the job? Or am I just being paranoid and insecure?
(I did some marketing research and sold the first 2000 copies in person and have received over 200 glowing reviews from readers of 54 nationalities…So I’m fairly secure that I have a book ready for the world to receive.)
This is something I wanted to share because it really, really bugs me.
Has anybody else had similar experiences?
And if you do a course on power blogging Jane, please let me know! I’d love to sign up!
DC Gallin: I would say that, in the case of this publicist, the relationship hadn’t even begun in earnest. Like any business relationship, when difficulties start that early, it’s actually really good luck. You can get out before there’s a serious investment.
I don’t think this problem is limited to self-publishing. Traditional authors have the same problem getting the attention of their editors, publicists, etc. Everyone everywhere is insecure …
That said, I do understand that if you’re seeking services from a professional (as a self-published author), that may incline them to feign interest even when they have none—for the sake of the income.
But a good way to find professionals who DON’T do this: Make sure they have clear language on their site, or have a pre-review or pre-approval process, that gives them the ability to pass on your project if it’s not a good fit. If they are clearly accepting every single job coming their way, and it’s important to you (or the project) that they are passionate about your work, then that’s your measuring stick.
Not every professional needs to be crazy about your or your manuscript, though, to do a good job — especially lower level tasks like proofreading.
Reading about the question of self-publishing versus going a more traditional route, I’m thinking about something Jay-Z said in Decoded, that I think can apply to writers regardless of what route they take:
“I’m lucky never to have needed the approval of the gatekeepers in the industry because from the start we came into the game as entrepreneurs. That gave me the freedom to just be myself, which is the secret to any long-term success.”
Can entrepreneurial instincts be learned? Me hope so, ’cause I got zippo!
Thank you for this thoughtful post, Jane.
I took a long, hard look within before I decided to go the indie publishing route. As the owner of 2 businesses, I understand what it’s like to be chief, cook, and bottle washer. I’ve done all those thing, and much more. I knew that self-publishing would be tough. I made sure I had the best cover, and I used 2 freelance editors to evaluate my manuscript before “going to press.”
I’m proud of my novel, the first in a series, because I had the opportunity to follow the traditional road to publishing, but I didn’t want to wait a year or more.
I can’t wait to publish my next novel in the series.
I belong to a writer’s forum and have contact with several self-published authors – every one of whom wouldn’t know a good book if someone whacked them upside the head with it. They are, for lack of a better term, bad writers. Other writers there have tried everything possible to steer them to improvement and they flat-out refuse to learn, and are also highly offended that anyone is suggesting that their gilded nuggets of literary poo is still poo underneath.
So forgive me if I’m *highly* cynical about the supposedly rising level of quality in self-publishing. Most of the self-published books I read are by authors who succeeded in traditional publishing and are now using self-pub as a way to continue their revenue stream with books to which they now own the rights. I trust them to know how a good book is put together. Thankfully, more and more of them are getting into self-pub, increasing my potential library.
But even for those folks who’ve been writing for years without making it past the gatekeepers, I have a massive dose of self-doubt that they’re capable of judging the quality of their own work. I’m sorry. I know that’s harsh, but that’s the reality of what I’ve experienced first-hand.
After all, in the words of the woman whose query I critiqued and mentioned that she might want to brush up on her grammar skills: “i aiready have that worked out i have been writing for YEARS as in since grade school i have most of my grammar and spelling issues worked out i have been working on my query for almost a year.”
Last I heard, she was going to self-publish.
I am late to the party, but this is such a great post, and very timely. I do love the fun of self-publishing projects that are backlist or otherwise might not go over in the commercial fiction world, but traditional publishing is also a fantastic place.
Jane, thanks for sticking up for the many benefits of traditional publishing. Despite all the dizzying array of options available today, I still prefer have pros helping to squeeze the best prose out of my manuscript. Even though I’m still drafting the manuscript, I’m getting great help!
Great post, Jane! Just to lend perspective to my comment, your workshop on Building an Author Platform was the very first I attended at a conference in PA almost three years ago. That in itself was worth the conference price! From then on, I have respected your take on the publishing industry and appreciate your emphasis on quality. I have self-published, you could say, but with the help of a publisher who respects the importance of a smashing cover design and interior text. I agree, too, you have to have the mindset that this piece of work deserves a 1000% effort. There will be nothing failing or weak about it.
I will put my work up against any traditionally-published novel in the same genre for its appeal and readability. If you’re a writer who “works” as you read for pleasure, then you can apply what you observe. You also have to be an insane, passionate, and insecure perfectionist who knows when you write at your best and when you (and everybody else) could be stuck with your worst!
How hard are you willing to push your fiction? How hard are you willing to work? Traditional publishing raises the bar higher, no question, but sometimes I wonder if it’s high enough.
Let’s face it, a lot of traditionally published novels may be good enough to get published but are not really a whole lot better than that. Readers know. They shrug. Those shrugs turn into royalty statements. If they were report cards they’d be stamped “C” or “D” or “F”.
Here’s my wish: Authors some distant day stop focusing first on getting published and instead commit to the enormous effort required to tell stories that matter greatly, and telling them with mastery.
That kind of commitment makes this whole discussion of TP vs. SP irrelevant. Who cares how great fiction gets dished up? It’s great.
[…] see, even Jane Friedman, a big proponent of author power and independence, says without the sorts of quality-control processes publishers have already established, authors fail to […]
[…] Self-Published Authors Have Great Powers, but Are They Taking Responsibility? by Jane Friedman […]
[…] of this weekly column. It was in her monthly guest commentary at Writer Unboxed, titled Self-Published Authors Have Great Power, But Are They Taking Responsibility? The age of amateurism, as some call it, is cherished nowhere more fervently than among […]
I missed this one but Porter dragged me over. Another one of your best blog posts ever, Jane!
I tackle this issue all the time as a teacher. I have to push students enough so they will grow but not enough so they will turn on me.
I just want to point out that this issue of being pushed that you mention here, it’s not a one time thing. I needed to be pushed on my first book and my second and, even, my third.
It’s not like you just need to get pushed once and then Ta-da! you are the best you can be for good, although I agree that there is a learning curve.
Pushing a writer to be the best she can be is not just what’s great about publishers, it’s also what’s great about teachers. And the best teachers for writers right now are often people who used to be in book publishing or who are authors, who get what creating excellence is all about.
So, I guess what I’m trying to say is that everyone needs a push today and another push tomorrow. And figuring out what the hoops are and how to get yourself to jump through them is what writing has become.
That’s why I made this the focus of my new book: writers need to learn how to coach ourselves and create teams of support that can help us be the best we can be.
[…] Publishing guru Jane Friedman encourages self-published authors to take responsibility. […]
This is so affirming. A perfect article for everyone planning on e-publishing. We owe it to ourselves and our potential readers to persent the best we have to offer — and that may mean investing some money to help us refine our work.
This is so affirming. A perfect article for everyone planning on e-publishing. We owe it to ourselves and our potential readers to present the best we have to offer — and that may mean investing some money to help us refine our work.
This is a great article, stirring lots of conversation. In my case I wanted to be a writer, not a publisher. I could see the advantages of self-publishing, but didn’t want to spend my time learning the aspects of publishing (hiring an editor, cover designer, layout, etc.) On the other hand, the large publishers slush piles scared me off. Instead I went with a small publisher, who edited, designed and published my work using sustainable business practices. They took my input on cover art. I had review of final proofs. We are partners in marketing the work.
The only downside I would mention is the narrow field for book promotion. Large publishers command shelf space and book reviews. I’m trying to find creative ways to get the word out on Fright Flight, Dream Seekers Book One, the first in my middle-grade fantasy series. All ideas welcome – leave a comment at my website: http://www.dreamseekeradventures.com Thank you.
[…] become rare, is, among other things, effectively endorsing Jane Friedman‘s now-prescient Self-Published Authors Have Great Power, But Are They Taking Responsibility? I quoted it here last week. It’s roughly summarize-able this way: Don’t throw […]
Reading your post and replies with a great deal of interest. The situation isn’t so very different here in the UK. A couple of points – I feel that there is a difference between experienced writers, and ‘beginning’ writers who may be too inexperienced to know how little they know. It’s a long haul and self publishing is a very public way to make your mistakes – but on the other hand, at least you can take an eBook down and edit it in the light of experience! I’m a professionally produced and well published novelist and playwright with many years of experience – but so many of us these days are suffering the rejection that the shrinking mid-list brings in its train. If conventional publishers and agents were so right about what people want to read, then the whole industry would be in a better state than it is right now. Instead, so many of us receive what another fine novelist friend calls the ‘rave rejection’ when an editor will say how much they ‘love’ your book, but sadly they can’t carry the marketing department with them. Many of us began by publishing our reverted backlists, enjoyed the sense of empowerment, the sheer pleasure of being in control and are now venturing to publish new work online as well. I’m doing it myself and collaborating with a couple of wonderful artists on covers! I do think though that writer have to become more businesslike in their dealings with the industry that surrounds them. Not all writers will want to do this – and that’s OK too. But whatever happens in the future, the relationship between writers and the traditional gatekeepers cannot remain the same.
[…] a quality book without professional assistance isn’t viable for many, as Jane Friedman has stated better than most at Writer Unboxed. Even that self-publishing poster guy Joe Konrath lists and recommends his cover […]
[…] For more on what Mayer is talking about here, check Jane Friedman‘s superb post, one of her very best in 2011, Self-Published Authors Have Great Power, But Are They Taking Responsibility? […]
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