The New Era of Self-Publishing
By Allison Winn Scotch | April 30, 2013 |
Is everyone sick of talking about the piece in the New York Times on David Mamet and his decision to self-publish? I hope not, because I’m dying to talk about it. So I’m going to…I hope you’re not already bored. If you haven’t read it, you should, especially if you’re a traditionally published author, but here’s a quick synopsis: Mamet is tired of feeling like he’s been kicked around by traditional publishers, so he’s self-publishing his next book. That’s it in a nutshell.
I read this piece and felt my pulse accelerate because, I, too, have been toying with the idea of doing my next book myself. The last time I was at Writer Unboxed, I talked about how demoralized I had felt by my experiences with my most recent novel, The Song Remains the Same, and how it nearly permanently derailed my interest in pursuing fiction. I managed to rediscover my love of writing but also swore that I would write my new novel – which is now finished – only for the pure joy of doing it…and I wouldn’t allow the system and the politics and the ever-shifting uncertainty within the industry to beat me down. So…it was (and is) with this in mind that my agent and I began chatting last month about the idea of publishing the book on my own. I resisted immediately and forcefully until I started reading up on how to do it and how to do it well. And then…the seed was planted and has started to grow. BUT. But. But. But look, I was/am nervous about the idea. And full disclosure, because my career was born and raised within the framework of traditional publishers, I have never been a big fan of self-publishing. But times are changing, and I don’t like to think of myself as someone who can’t and won’t acknowledge that things need to be shaken up. So this Mamet piece couldn’t have come at a better time for me. Maybe it is time for a change. And if it is, I’d like to think that I’m the type of person who would embrace that change rather than dig my heels in deeper.
A few things, before we go further:
1) I am exploring all options now. Talking with traditional publishers but also doing my own research on how to best go about indie publishing. It is DAUNTING, and I have yet to see a lot of people do it WELL. There is a very big difference between self-publishing and self-publishing well. Also, this post is not meant to take away from the fact that I have a lot of respect for many of the people I’ve worked with and many others with whom I hope to work with within the industry. There are some amazing, amazing minds at traditional houses, and that needs to be said and acknowledged.
2) David Mamet has a platform. I think readers would be imprudent to ignore this. He can self-publish because he has built-in readers. Self-publishing as a debut/untested/unknown author is very, very different experience (I would guess), than self-publishing as an author who already has a following. I have long maintained that the marketing and publicity angle of publishing is the most difficult, and I really can’t stress that enough. Self-publishing your book almost has nothing to do with getting people to buy it. Those are two really different things – and Mamet already knows that he has the fans to buy it. I think that makes the difference here.
So, I’ve been weighing the pros and cons on my own, and I thought I’d list them here, so we can discuss what you view as your own pros and cons in self-publishing. Here’s what I’ve gotten so far:
PROS:
1) Complete control over the process. This is obviously the most appealing aspect for Mamet, and it’s also the most appealing for me. (And for many other authors I know, I’m sure.) It’s true that I am one of those people who often feel like if I want something done perfectly, I may as well do it myself, so it’s easy to understand why the “control aspect” matters to me. One thing nearly every traditionally-published writer loathes/dreads/complains about about is their total loss of control in the process once they file the manuscript. I think I’d enjoy taking ownership of every aspect.
2) Pricing. This might be more of a 1a, but the idea of being able to set my own price point is thrilling. As an author, I have never been influenced by price…I strictly buy what I’m going to buy, based on reviews, friendships, etc. But in surveying readers recently, I’ve discovered that price point is king…people will buy books they never otherwise would if it falls within a certain price range. The same theory holds in reverse: it is so very frustrating to know that an e-book, set by the publisher at $12.99, will simply not sell because readers won’t pay it. Whereas the same book, set at $5.99, would generate huge sales. I love that I can offer the book I want at the price that I want, which also happens to be the price that readers want.
3) Timing. If I were to self-publish, I could have my new book out within, probably, six months. This isn’t an “upload your Word document to Amazon” type of deal. Many of those are the self-published books that make other self-published books look bad. I would have my edited and copy-edited, print up galleys, print up real books and hire a jacket designer. These things take time, but they don’t take as much time as they would within a traditional house….where the cycle generally takes about a year, if not longer. I love the notion that this new book could get to readers by, say, late October. That makes a difference to me. (And to readers.)
4) Accountability. Here’s the truth: no one cares more about your book than you do. Not your in-house publicist (though he/she may care). Not your in-house editor (though she may care too). NO ONE. And inevitably, there will be times (many) during the publishing process when you want answers and you want attention and you want to change something, but you have to go well up the chain of command or deal with office politics or whatever. And if and when something breaks down (because it will), you will want to blame someone. At times, you’ll know exactly who to blame; other times, you won’t. If you self-publish, you only have yourself to blame…or to champion or to triumph. For a control freak like me, I welcome this accountability. I would so, so, so much rather point the finger at myself than at anyone else. (And yes, there’s a caveat here that goes back to point #1 – because I like to do things thoroughly, I also like to think that there may be less finger-pointing in the end.)
5) Earnings upside. This is a tricky one, and it can also fall into the CONS. But if your book does well, you could potentially earn bucketfuls of money. Sure, you can also earn a nice living at traditionals. (Don’t get me wrong…they have paid my bills for many years, and I am grateful.) But the royalty rate is so much higher when you do it on your own…somewhere around 70% vs. 10%. That is, quite literally, no small change.
CONS:
Let’s be honest…there are still plenty of them.
1) Expense. Unlike with traditional publishers, where YOU GET PAID upfront and then they also put in their own money (via the editor, jacket designer, etc), when you self-publish, you have to front all of your costs. Sure, if you just upload a book to Amazon, your costs are virtually nil. But again, I would want to do it right. When you add up all of the outsourced jobs – copy editor, editor, jacket design, paying for print books, publicist – you’re easily looking at 10k and likely more. (By my math and the people I’ve spoken to – there are certainly ways to trim the budget but for what my vision would require, this is about what I’m looking at.) For every dollar you sink into this venture, you have to sell that many more books. And I’m nervous about selling that many more books. Which leads me to…
2) How many books do you really sell? This is the great unknown. I have no flipping idea how many books I’d really sell. It could be 100,000; it could be 5,000. We all read about the wildly successful self-published authors, but we read about them because they are exceptions to the rule. Now, with the right price point and the right platform, I do believe that authors with a built-in readership would likely have success. (Mamet agrees.) But…who knows? It could really be a spectacular failed experiment.
3) Tough going on subsidiary rights. As someone who has earned her advance out before her book even published, I understand the value of foreign rights deals. They can certainly bring in nice (and at times, hefty) checks that either offset your initial advance (if you’ve sold World Rights) or boost your take home pay (if you’ve sold North American). Can you sell foreign rights for self-published books? My initial research tells me that yes, you can, but almost exclusively after your book as broken out as a success story. So foreign rights and editions are not something you can count on. I assume that the same is true for audio, large print, etc. And of course, film rights. Now yes, we are all seeing those deals on Deadline.com about self-published books that are now the hottest properties in Hollywood. They are the exception. It’s very difficult to sell book-to-film rights at all, much less self-published book rights. (Now…given that the probability of selling film rights isn’t high for either type of book, perhaps this isn’t such a factor. But still. It is worth noting. I’ve sold film rights to books before, and listen, it’s always better to have sold them or to have had the option of selling them than not. Is that a make it or break it point? Probably not.)
4) Loss of industry cred. I hate to even give voice to this “con,” but the truth is, that many authors wonder about it, and it’s part of the reason that more authors don’t take the leap into the indie world. So what the hell, I’m gonna talk about it. Look, the truth is this: the traditionally published world looks down on self-published novels. That may be changing, but generally speaking, this is true. (Or was true…again, the winds are shifting.) And even though it feels juvenile and silly, it is hard to know that people may not take you as seriously because you’ve chosen this path. Mamet may have done a lot to change perception. But still, it’s daunting. It’s not enough to deter me, but sure, after working for years to establish respect within the industry, it’s tough to think that people would consider me…I don’t know…less professional? Oh well. I’ve never cared enough about outside perception to change my behavior before. But still. This is a big factor that must be acknowledged: authors do NOT want to be thought of as amateurs, and just the notion of “self-publishing” can do that. (Like it or not.)
5) You’re out of luck at bookstores. Okay, some people I’ve spoken to say that you can sell copies to bookstores. I’m dubious. If you can, you sell very few. Barnes and Noble and indie stores have entire sales teams pitching them…not many are paying attention to the self-published author who hope the stores will stock her book. Library sales are possible (again, from what I’ve learned in speaking with people), but again, large quantities are hard to come by. Now…given how well e-books sell and given that a self-published author may be able to move a ton of books because of a certain price point, the math may well even out on this. Ie: if you sell a crapload of books online because of your lowered price, you may well outsell the quantity you’d have sold at BN or indies anyway. But it’s hard to know. And it’s always nice to be in stores when you can be. (Of course.)
6) It’s a heck of a lot of work. One thing that cannot be understated is how much work goes into producing a good book. The traditional publishers know this, and they do it well. I don’t think anyone is arguing that publisher don’t publish well…it’s that times have changed, and now, perhaps, at times, with some authors, (see all my caveats there?), they don’t sell well. And I mean this: some publishers do. Some are still totally great at their jobs, and if they beat down my door, I would publish with them in a heartbeat. But all of that aside, what a traditional publisher offers you is all of the things that you have to wrangle on your own, should you self-publish. The fact-checking (ugh, my least favorite), the copy-editing (also hate that), the editing with a smart editor (invaluable), the jacket design, the marketing, the publicity, etc. Of course all of this can be taken on solo. There is no doubt that it can be. Mamet believes it. And I believe it…every day, I believe it more. But self-publishing is, essentially, akin to launching a company. It’s entrepreneurial. Not all authors would be savvy at launching companies, and with good reason…many companies fail. So there is an assurance that comes with signing onto a traditional publisher: that they will do the heavy lifting. That you can focus on the book. I guess the question I’m asking myself is…is focusing on my book enough? And if I do the heavy lifting, can I lift it higher, faster, better and more brightly than anyone else can?
I don’t yet know my answer. Whatever I decide, I’ll let you know. In the meantime, I’d welcome your thoughts. Traditionally published authors…what say you? Is this a leap you’d be willing to make?
Allison Winn Scotch is the bestselling author of six novels, including IN TWENTY YEARS, THE THEORY OF OPPOSITES, and TIME OF MY LIFE. Her seventh novel, BETWEEN ME AND YOU, will be released on January 9th, 2018. In addition to fiction, she pens celebrity profiles for a variety of magazines, which justifies her pop culture obsession and occasionally lends to awesome Facebook status updates. She lives in Los Angeles with her family. For more about her and her books, go to allisonwinn.com or follow her on Twitter at @aswinn.
This is an excellent post about what aspiring authors should consider if they are interested in self-publishing. I self-published my debut novel, BABY GRAND, last year. I just took the leap. I thought I could do it. I saw some quality stuff out there, and I tend to be a self-starter, entrepreneur and, yes, a control freak, so I thought, Why not? My writer-friends — many of whom, as you say, grew up in traditional publishing — sort of watched with wide, curious (skeptical?) eyes. My agent at the time was supportive, but nervous.
I did exactly what you said — INVESTED in my cover, formatting, interior design. I treated this book as if it were a traditionally published book. I had it blurb-ed. I got a professional head shot. And guess what I learned? People in the industry may scoff (for now) at self-published works, but readers don’t really care one way or another how a book got to them. They just want a book that is well-presented with a GOOD STORY. And, right now, BABY GRAND is a Top Rated Mystery/Thriller on Kindle, and based on the success of BABY GRAND, I was voted one of the top two authors on Long Island for 2013. All because I took a leap of faith. And I was confident in my story. And my abilities.
Did I sell millions? No. Will I one day? Who knows? They say the best way to sell your first book is to write and publish your second. And I have lots of books in me, self-published or otherwise.
We have been talking about self-publishing at our writer’s group for months. It’s one of those topics that continually come up and we never tire of going over the pros and cons (something could change!).
One group of women from our group just self-published and released a compilation of true short stories. They knocked my socks off with the marketing effort they put into it. They hired two editors (definitely worth the money!), ran a contest for the cover design, and have been promoting the book non-stop. Fortunately for them, there are 8 people in their group and several have a business/marketing background. They put a lot of time and money into their platform and appealing to local talk radio and tv shows to promote.
Watching them, I’m impressed and I can see that it is possible. But me on my own? a debut author with no marketing expertise? I still see it as a last resort.
To break even would take a huge effort – and I’m hoping to put that time and energy into writing. So I’m skeptical that self-publishing is “right” for me. . . but I admire those paving the way and showing us how it can be done well.
I’m sorry to hear you say that hiring two editors was “worth the money,” yet your friends ran a contest for the cover design–in other words, asking graphic designers to do spec work in hopes of being chosen and maybe paid. I doubt those editors would work on spec.
Just to muddy the waters further, here’s a post from the awkwardly named E-Book Formatting Fairies.
https://e-bookformattingfairies.blogspot.com/2013/04/author-know-thy-business-self.html
The post describes the result of a self-reporting survey on the number of ebooks these authors have sold over the last few years. They range from self-published-only to NY Times bestselling writers, from 1 book to 20. About the only thing they have in common is that they’re all women who write variations on romance (romance-suspense, Regencies, contemporary, etc.)
Generally, sales are up for all of them, although there are exceptions. One mentions that her sales declined after Amazon changed the algorithms for their KDP program and hasn’t recovered since. And those who have been professionally published seem to do better than those who are not, possibly because they have a wider readership and they’re more polished writers.
Lots to think about. I just published my second book through CreateSpace (after being published by Penguin), and I’ve encountered many of the same issues you’re considering.
I have self-publshed as a first-time writer. I’ve published two books and I’m building a platform. It’s a long, slow road, especially because I have a full-time teaching job and I’m a single dad. If I were already a well-known author, and had more time and finances, I think self-publishing would be a good option. But as a startup, there are days I wonder if I made the right choice. But then finding a publishing deal would likely take up as much or more time than what I’m doing and there’s no guarantee.
I think 10K is WAY too high to be spending on a book, any book, especially a first self-published book.
Producing the product itself, maybe $3K. $4K if you go overboard. I feel confident you could get away with $2K and do it really well. I’ve seen great products produced under $1K. (I usually end up in the 3K to 4K part myself–and I hire editors/copy-editors that also freelance for New York, so I don’t think I’m shooting myself in the foot for quality.)
But marketing and publicity for books really don’t do nearly as much as you might be imagining, and I know this from lengthy experience on both ends. Put the book on Netgalley to get reviews and to generate buzz. Do a Goodreads giveaway. Maybe buy one or two carefully-targeted ads. That is 100% of what a publisher would do for a new author. It’ll cost you maybe a thousand bucks. Stop there. I have seen people spend ungodly amounts of money on marketing beyond those basics, and about 1% of it was worthwhile.
I’m going to suggest that you take a look at the Taleist survey on self-publishing (you can get it for $4.95). Not for the average earnings, which are dated, but for the discussion about crosstabs–what activities correlate with success? The most important thing I took from that was this: Spend your money on the product.
Wow … you have packed so much into this comment. Thanks!
Wow! Excellent article, Allison. You were quite thorough in your research, but I can understand how the decision remains a scary one. You addressed many of my concerns, as well, and enlightened me to some of the realities with which I was unfamiliar. I thought I would never glance away from the traditional path (and I’ll pursue that first), but I’m bookmarking this for future reference.
Traditional publishing is still 100% the right road for me. I understand why other people feel differently, but especially after seeing how hard it is to put your books in readers’ hands even WITH the full weight of a publisher behind you, I can’t see how I could be confident of getting my books into more readers’ hands flying solo (and with little to no bookstore presence or major media coverage.) Of course the math works differently — with self-publishing, you can make more money selling fewer copies — but it’s an uphill battle regardless.
Different options are good for different authors, or even different books by the same author. I don’t need to be convinced that self-publishing is the right call for some. Just, right now, it’s not the right call for me.
According to a young author who came and spoke to our writers’ group, the traditional publishers do not handle marketing anymore. She felt traditional publishing was the way to go (she didn’t think self-publishing was “quite there yet”.) The presentation was excellent, but daunting. The amount of marketing this young author was doing was incredible. When we asked how much marketing the publisher was doing for her, she said, “None.” This is probably something that debut authors must deal with. As my friend Lynn says, “If your sales meet your advance and beyond, maybe the publishers will pony up more for a second book.”
We also heard presentations from self-published authors and the published author’s book required her to do every bit of marketing the self-publishers were doing.
So if you take marketing out of the equation for debut published authors, it makes self-publishing look even better.
Here’s a post I did on marketing, in case anyone is interested.
Hmm… interesting points, Allison. Thank you for sharing. Like any business, we should always research our options.
Denise Willson
Author of A Keeper’s Truth
There is definitely a plunge factor when it comes to self-publishing. Money and yourself on the the line. Have to make sure the dive is worth it.
I have to agree with Jael. While the royalty percentages and speed of pubbing and more control looks good, I know the struggles I’ve had getting my books known and in the hands of readers, and that’s WITH a major NY house behind me. I can definitely see the appeal for big name authors, who have an established readership and bestsellers in their wake, to take a different path because they can afford it. For debut authors and relatively new authors in the first few years however, I think it would be really hard. Unless you have a big marketing background and phenomenal connections…which I don’t have. I fight marketing already, lol.
And like you said, whether we want to admit it or not, there is a stigma to it. Saying you’re pubbed through Berkley holds more weight than saying you’re pubbed through yourself. Unless you’re Barbara Freethy or Courtney Milan… :) (waves to Courtney) Then you can say whatever you want and readers will still buy you.
Courtney – I figured there would be some discussion about that 10k number. I agree that you can do it for less, but in terms of working with the people I want to, that’s about where I’m coming out. I know, for example, that there is a highly-regarded jacket designer who is very inexpensive – like, $250 for a cover. I looked at her work, and it’s very good. However, I want something that is very similar to my previous jackets, and that is probably going to be about 2k…which is about average for the quotes I’ve gotten. Similarly, I want to work with an editor with whom I’m familiar and who I trust – the editing process is deeply personal and having been through it before, I know the type of editor I’m looking for and need…nearly everyone I’ve reached out to has come in around 3k.
Copy-editing is about $500-1k, I believe. Then there is printing up galleys, which I’d want to do for reviewers, as well as print books, which I’d like to make available to readers who love paperback and don’t love e-books. I’m not totally sure on those costs yet, but certainly, there are costs there. Then factor in advertising, marketing and hiring a publicist…which I understand not everyone does. For me, this would be my big shot to do it right and do it huge, and I would certainly want someone to help pitch me.
So that’s where I come out.
Copy editing for my book was about a thousand, proofreading another five hundred or so. Cover over a thousand and then there’s the interior design, as well as other less obvious costs (stock photos, website, ISBNs, PR, to name a few). It really can get pricey, but I totally agree that it’s a critical part of the reader experience (in my opinion) to make the wrapper as attractive as possible (for the sale) and at the same time drop it all into the background and make it invisible to the reader during reading. As someone else said, it’s got to be done right! Such a great, thorough, and thoughtful analysis, Allison, and the comments are incredibly useful as well.
Sharla –
I agree with you about finding readers. However, I think that at a certain price point and viral ability, your book may well find a lot more readers than you think. And I’m unconvinced that a lot of publishers know HOW to find new readers for authors these days. A lot of what has been tried before no longer works…so then authors end up complaining that no one bought their book…and thus proving that traditionals actually didn’t find them new readers. It’s a cyclical argument, and I’m not sure which one is correct. Thus…my debate with myself. :)
Allison
I’ve got to go with the self-publishing route.
A recent conversation with a mid-list author of crime stories saw him going the traditional route of small advance on the first two books which had small runs of four and six thousand books and NO promotion by the publisher. He was doing it all on his own and spinning his wheels. Book number three of the series got a little better treatment, BUT also resulted in the publishers killing the series because it was too regional in appeal – not that the publishers did anything to promote this one either. Our friend has stuck with the publisher and is into another series that offers a broader scope than the regional series. This time he has a 50 thou advance, BUT he is still doing all the promotion for the book and will actually be spending a good chunk of his advance going to various cities to do the bookstore/radio interview tour – all of which he must set up on his own.
Could the first run of 4,000 made money as an indie ebook? Probably.
Would it have been readily available to deliver to agents, movie people, etc.? Most definitely.
Could he have set up a regional tour for his original series on his own? Yes. And he could have kept not only the series alive, but have it as a steady stream of income.
You only live once, so I say, go for it. I think publishing is changing and doing it yourself as a self-publisher, especially when you have a track record of successful traditionally published books, is a great way to go. Self publishing doesn’t mean you have to jettison your agent. Your agent can still do foreign rights deals for you. It doesn’t mean you can’t be in traditional bookstores. Depending on who you self publish the print version with, you can get into bookstores (people say Lightning Source works with traditional bookstores; whereas CreateSpace does not).
Self publishing is more work for you, because you’ve got to make sure everything is done right and up to your standards. But, it’s also more control. If you’re up for it, give it a try. What’s the worst that could happen?
Great post. I’ve been researching self-publishing for a year now and have begun taking steps toward it. (I, too, believe in doing it right; there are more of us every day and I think we’ll turn the tide of negative opinion.) There are long lists of pros and cons, but I think that some version of self-publishing is the future, and traditional will have to find a way to get along with it. For me, what’s at the top of the pro list is that I’m in control of the art, and what I send out to the world is wholly mine.
I think it’s hardest for authors to choose if they’re in your position: disenchanted about the traditional system, but not so much you can’t bear to go back again; uncertain about your interest or abilities within the indie world. Can I suggest a resource that might help? It’s a book I described in this WU post: https://staging-writerunboxed.kinsta.cloud/2012/11/19/author-wishbone-part-ii/
Essentially, decide what you can’t live with, and if neither option contains a deal-breaker, take steps to discover what works. Revise accordingly.
Whatever you choose, I suspect hybrid careers will become more common than not for the bulk of of writers. Especially for those who find artistry in the business aspects of writing, not only in what happens on the page. In other words, you’re more likely to be debating about the specific timing of a SP experience rather than whether it will happen at all.
Lastly, there are ways to test the SP world. Assuming it wouldn’t breach your contract, SP a short. Or SP your book under a pen name, then claim it later when you’re ready.
And of course, I have no horse in this race and no real knowledge, so this “advice” can’t be construed as such. ;) Just hoping it might provide food for thought.
Suggest you read Guy Kawasaki’s very complete guide, Author, Publisher, Entrepreneur (APE). He estimates all-costs for cover, edit, format, etc., at $4k. I think it’s a must read for any writer considering this. I’m in the midst of this right now.
Another important consideration is marketing. My plan is to publish for Kindle and distribute a code for a free copy to my 400 Facebook Friends and ask those who read it to write a review on Amazon, good, bad or indifferent. No reviews=No Sales. I’m also doing a video trailer which is a little silly but I know how to do it for little or no cash. I’ll be A/B testing two different cover designs. I also blog about writing process and will be publishing a free ebook called Novel In Progress, Getting Started, Keeping It Going, Getting It Done. I have some other ideas (I’m a professional marketing guy) but ultimately the story has to be good or no one will tell others about it.
And book clubs- I’m trying to figure out how to get some viral word of mouth there.
Really good discussion. I’ve saved the post. Thanks, everyone!
I self-published my first novel, Ataxia and the Ravine of Lost Dreams, on Amazon with Createspace. I have yet to sell 50 copies and I hear that I can really only expect to sell downwards of 100 copies as a first-time unknown author with very little platform. However, my view is that my book is forever and eventually I will have that platform, that audience who will clamor for every single title. In the meantime I will keep writing and improving. My biggest fear is that my book lands in the “crud of the self-publishing” category. Self-publishing is like teaching without accreditation, you could be a great teacher but no one will believe you unless you have a piece of paper telling them that you are.
Mostly I stay away from the self-publishing civil war, but we’ve gathered enough battlefield accounts now, I think, for some truths to emerge. So if you’re thinking of self-publishing an e-book you might consider these questions:
1. There is no such thing as “traditional” publishing. There is publishing, period. You can be paid (in advance!) then heavily assisted, you can pay for assistance, or you can do it yourself. Which sounds best to you?
2. Editorial: Unless you’re paying for a top-notch independent editor, if you self publish you’re on your own. Are you good with that? Is copy-editing all you need?
3. Control: You’ll call all the shots, from cover to copy to metadata. You’re really, really good at that stuff? You can produce a product that will compete with the top print authors in your category?
4. Market: If you e-publish, you are choosing to work through three main bookstores–mostly one. Unless you’re top 100 in some category, your book likely will be nearly invisible. The customer base you’re marketing to is also only one quarter of all book consumers. Do those odds sound to you like an exciting challenge?
5. Advertising: The best advertising for your e-book, by far, is a print book. Shelved in many bookstores. (Check the e-book best seller lists.) Got a way to do that? If not, you’re good without it?
6. Advertising (part 2): The next best leg up for your e-book–? A large existing fan base. Got it? Great. Cut that by three-quarters (see 4 above). That’s still enough?
5. Promotion: Do you like pushing yourself? Do you live, breathe and dream at night of marketing strategies? Do you recognize that social media is not marketing, is mostly fan service and friends, and does little to sell units?
6. Pricing: You can price your e-book low, at $.99 or, if you’ve got some cred, maybe at $2.99. With the higher royalty on do-it-yourself e-books, hey, the math on earnings can work out…to a point. But how will you grow? You can’t reduce prices from rock bottom so…? You’ll plow your earnings back into paid marketing? When your P&L’s begin to look more like print publishers’, what the heck, it’s worth it to be in charge?
7: Growing: Is your writing good enough to sell books at $6.99? $14.99? $25? Some authors sell a lot of units–a lot of units–at those prices. Huh. Think you can do that or doesn’t it matter?
8: Extra income: You’re good with producing your own ACX audio edition? You weren’t counting on revenues from translation or movie/TV sales anyway?
9: Justification: If you’ve been rejected by print publishers, or if you’ve had a disappointing experience with them, is the problem entirely them? Yeah? They just don’t get you, or their low-effort, few-dollars, spaghetti-at-the-wall approach to publishing is the whole reason you’re not happy?
10. History: Self-publishing used to be called vanity publishing. But it’s different now. The tools that used to be in the hands of print publishers are now available to all. The lower cost has made publishing truly democratic. Everyone has an equal shot. You believe those things, without a doubt, to the core of your being?
11: Reality: Okay, you’re realistic. Self-publishing e-books is hard. You know that. Very, very few have made it work. With few exceptions those authors have later signed print deals. But that’s okay. Doing it yourself fills you with joy? A likely lower level of success is fine for you? You don’t need to reach a lot of readers, for now anyway, just the ones who like your stories as they are?
11: Goals: If self-publishing an e-book works, great. If not, no harm? The time you’ve invested in writing your book will be paid back even so? Hey, it’s all a learning experience? You’re happy if the seed that is your story winds up planted in just a few gardens?
If you can answer those questions largely in the affirmative, well there you go. If not, maybe there’s another way. Maybe. Here’s a final question:
12. If pushing your storytelling to the highest level could get you a print publisher, distribution to reach 100% of book consumers, a good advance, solid reviews, a celebrity reader in audio, foreign deals, a movie option, award nominations and very good (maybe even best seller) sales…would you still self-publish? Yeah?
Awesome. Go for it.
GREAT reality check. Thank you!
Donald,
I agree with almost all of your points, particularly for a debut or unknown author. However, I think there are a few things to be noted here: for example, you talk about how being in stores is the best advertising. Well…sure. However, as I’m sure you know, plenty of authors these days now feel as if they are very, very underrepresented in stores (and what about the S&S authors), and if you don’t land good co-op placement, your book really isn’t seen that much. So…sure, theoretically, being prominently placed at BN is, of course, wonderful. But just as you refer to being in the top 100 lists to be noticed, you need to be in the top of your publisher’s mind/budget to get noticed at a store.
Further, to your point of number 12, the break-out books – celebrity reader in audio, movie options, etc (which I do address and agree with – that is certainly a consideration) – are again, the anomaly. Talk to the average mid-list author, and he or she isn’t getting all of these perks. Sure…there’s a chance that your book will break-out and light the world on fire. But again, there’s also the (slim) chance that your e-book could do that too.
Of course, I do agree with many of your points – the top-notch editor (thus my budget for one), the need to a platform, etc. And I think too many people DO ignore these factors in a rush to self-publish.
Allison
Allison-
Disappointing exposure in brick-and-mortar retail stores can be chalked up to lack of publisher dollars (co-op). In one way that’s all it takes to confidently point a finger–ah-ha, that’s the problem!
But in another way it’s a chicken or the egg issue. What comes first, a great novel or great co-op spending? I’ll say this: big co-op spending by itself doesn’t make a novel great. Great co-op spending doesn’t guarantee great sales, either, any more than a full page ad in the Sunday New York Times Book Review. It’s more than placement alone that causes readers to escort a book to the cash register.
As to all the goodies in point 12, I don’t find them an anomaly, or at least not among the authors we represent…and these folks are not, by any means, all best sellers. Three-star reviews, foreign sales…these happen every week, sometimes every day, for authors whose sales we might once have called mid-list.
I love e-books. They’re great for the industry and good for authors. Self-publishing is newly possible, too. Nothing wrong with that. But it has limitations and challenges that many authors aren’t facing. True believers tell us of their success and how happy they are…and yet sometimes I wonder. Are they convincing us or themselves?
I remain firm in my conviction: There’s no revolution, no magic solution, no easy road. Whether you publish yourself or with some level of assistance, what will make your fiction successful is the power of your storytelling.
All the rest is secondary.
Hey Don,
Those brick and mortar stores are dying out. Honolulu used to have three Borders stores and two Barnes an Noble stores. Word s that in a few weeks we will only have the one B & N store.
Donald,
I think your view of discoverability is cramped. Hitting the category lists is one way to make your book discoverable, but it is not the only way. If you’re just starting out, not the one you should be concentrating on. That’s a lengthy topic of discussion–but savvy self-published authors can tell you a lot more about. Think also-boughts, reviews, keyword searches, and nodes in book recommendations when you talk about discoverability.
To answer some of your other questions: If you’re self-publishing and you start at low price points, here is the simple path to career growth: At the end of your book, you have a page saying, “Want to know when my next book will be out? Sign up for my mailing list at [clickable URL].” At the end of every book, have clickable links for every book out there. That way, your low-priced works bring in new fans, resulting in new sales. The process can be slow or it can be fast, but it definitely works. And the people who it works on will like your writing already, and will be more likely to pay more for it.
At this point in my career, my self-published works increase the number of people who willingly choose to connect with me in some fashion more than my traditionally published works ever did, because I’m in control of the back matter.
As for the rest… I could say a lot more about ACX and commissioning foreign editions. But this is also easy: It’s terrible advice to tell people to think of it now.
A new self-publisher is a tiny business. Your job when you’re starting up is to focus on your core competencies — namely, getting books out. Turn to the rest once your core work is generating enough income to justify the expenditure.
If your books start taking off, you’ll have the money to do ACX editions, and to hire top talent (who are on ACX, after all–I hired a woman in 2012 who won an Audie in 2011). You’ll get an agent to handle foreign sales, or you’ll have the money to start commissioning your own foreign editions. If your books really start taking off, you’ll have the wherewithal to get them on the shelves in stores, because you’ll have bargaining power with publishers.
Once you’re at that point, yeah, it gets complicated, but you’ll have the money to deal with it. So don’t freak out now about what you’re going to do if your chickens hatch, when all you’ve done is plant some corn.
When you’re just starting, it’s really simple. Write a good book. Produce it professionally. Make sure that you’re getting it out to reviewers who are connected with the book community. Use pricing tactics to draw people in and build a readership, and end the book on a polite ask in order to maximize future sales.
It’s not that complicated.
Hi Courtney,
It’s great to meet you, if only in this comments area. What I like about your comments is that they’re so practical. Your view of the process is realistic and can-do. Debut authors definitely can work reviews, keyword searches, book recommendations once they’re clued in.
“Also bought” is great when things get rolling. I’m glad to hear that your sales are picking up book-to-book. Your tips for building audience are great. So is this:
“When you’re just starting, it’s really simple. Write a good book. Produce it professionally, etc.”
Couldn’t agree more. Oddly, that works in print publishing too. So simple. Yet how do you know that you’ve written a good book? What’s the measure?
Here’s where I see writers start down a difficult path. 50 or 100 rejections from agents have them saying, “New York doesn’t want me.” Thus, the issue is not the book but the industry. Those 50-100 rejections mean nothing? They’re from callous trust-fund elitists who have no need of good manuscripts? Wow. I’d like to be one of those.
For sure, published authors have legit complaints about print publishers. Going indie is certainly an option. Yet when after several books sales have dwindled is it always right to blame the industry? Don’t consumers send rejection letters too, in a way? Rejection slips and royalty statements can, I suppose, but wrong but I think it’s more useful to regard them as information, however unwelcome.
To your practical advice, I’d like to add practical editorial advice: Develop not a thick skin, but an editor’s sensitivity. Every novel can be better. Focus first on that. There’s a time for keywords, but it’s later.
And where can the best advice on all of the above be found–? Right here, I’d say. Happy to be having this discussion, Courtney. Your comments are refreshing.
Donald-
You and I agree on a lot of points, but do disagree on others. Thus, the wonderful benefit of discussion! :)
I agree that many times, it is the product, NOT the industry. If you get 100 rejections from agents, start a different book. I always used to say that on my blog too…at a certain point, you have to be realistic, and if you’ve gotten rejection after rejection after rejection, rushing to self-publish is not the best choice, IMO.
However, I think that things get sticky with authors with a proven track record where, IMO, quality no longer equals success. I see friend after friend after friend publish wonderful, well-reviewed books that sail quietly into the night. If the publisher has deemed it worthy enough to print and the trade reviews have provided accolades, what else is left for an author to do, other than expect the publisher to do its job of selling and marketing the book? I ask this sincerely. Authors are talking about it with each other: we email, we DM, we try – honest to God, we do- to figure out why these wonderfully well-written and well-reviewed books go nowhere. If an author delivers a great book (determined by reviews and determined, I’d imagine, by in-house editors who should perhaps speak up and NOT publish something that they don’t think is great), what other onus falls on us? I really don’t know. But I think, when this type of implosion happens, an author is SMART to step back and assess. If a company can’t sell a good product, why return to the company? Maybe there are worthy reasons to. Truly. But to not ask that question of yourself (and your publisher) seems short-sighted.
Allison
Allison-
Looks like we’ve got the main point settled.
As to the heartbreak of watching great fiction –I love the way you put it–“sail quietly into the night”…well, what author (or friend of said author, like you) would not advise in this day and age, “Damn them! Publish yourself!”
And perhaps that author should.
Yet, there’s another perspective. Now, I’m not apologizing for sloppy publishing (seen plenty of it), and while regarding publishers as incapable or unwilling to do the job may at times have truth to it, the blame game nevertheless leaves out a critical component: readers.
Sometimes even brilliant books brilliantly published fail to sell. Who is to blame then? Author? Publisher? An unlettered public? An unfortunate accident of timing?
Allison, honesty is central to writing well so I’ll be honest: When good novels fail to sell it’s not because they’re bad–they’re not, as reviewers affirm–it’s often because there’s something in the writing itself that makes it hard for readers to climb on board and sail along too.
The most common factors I notice are: dark, hard-to-like characters; cold, objective writing; tragic stories unleavened by compassion or humanity; middles that spin in circles; a patina of originality painted over a canvas of conventional story or character tropes. That doesn’t explain all poor sales, of course. Those just are factors I often see.
[I can hear multitudes shouting, “But what about Ian McEwen or Robert Goolrick…they’re exactly what you said!” Ah. Such stuff is never entirely what it appears to be on the surface. There’s always something, hard at first to see, that makes it successful.]
What looks good can, in fact, be quite good but good in a way that only the most hardy readers are going to suffer/enjoy. Hence, great reviews weirdly coupled with low sales. Hence frustration. Hence, “the industry has failed this author”…
Well, no one’s failed. That’s where I disagree. When good books sail quietly into the night, it’s not automatically true to say that the publishing industry has failed. It’s no truer than to say that self-publishing will justly remedy all wrongs and award strong sales to wounded authors.
Some fiction simply doesn’t prove to be popular.
Self-publishing isn’t wrong. The stigma attached to it is misguided and quickly fades in the face of growing sales. What I want is for all authors, print and “e”, to face up to the ultimate fact: your fate lies in your storytelling, and no where else. When everyone agrees on that we can stop the blame game and start learning and enjoying the new landscape.
Because after all, it’s the same wonderful place it’s ever been: the world of storytelling and publishing.
I’d just like to say this is one of the finest (and most civil) discussions I’ve ever seen on this issue. And Don, your last two paragraphs not only resonate for me, they give me hope. Kudos to Allison and all the participants in the conversation!
I agree, and thank you, Don. I’ve bought three of your books on the craft of storytelling and highly recommend them.
Thus speaks the buggy-whip maker, in the era of the Model T Ford.
Love your #1 PRO – control. I may cringe at a poorly constructed sentence I missed (and in an e-book that can be changed :o), but I would *hate* to not have a cover I absolutely love.
As someone who has just e-published her first novel, this thread is great reading! Thanks everyone! Allison, whatever you decide, you know I’ll be reading your book!
It’s easy for Mamet to self publish with his presence in the media.
I self-published my first book two years ago and have done quite a bit of marketing on it. I’ve gotten excellent online reviews, hired a publicist, and have sold fewer than a hundred copies, even though it’s a very readable action/adventure novel.
I’ve finished two books since then and continue to query agents. I’m up to over 100 rejections on my books, but feel that if I want any of them to really sell, I need a publisher to help me.
Plus, there’s only so much time to self-market if you plan on continuing to write, which I am doing every day.
Allison, Thank you for a great post. I’m so glad I clicked over to the website to read the comments–they also are really helpful.
After years as a newspaper journalist and then freelance writer for many national magazines (Allison–you probably don’t remember but we knew each other in ASJA back in the day), I returned to school for an MFA in fiction. I graduated in 2006 and have been working on my craft since that time (and still paying off the loan, but that’s another story).
I care very much about quality–quality in the writing and in every area of the book-making process, whether print or digital. (In fact, I didn’t query agents about my first two novels because I didn’t think they were good enough. I’ve only recently started querying for my third novel. I’ve had what I consider a good response rate–agents asking for the full manuscript and offering helpful and positive feedback–but so far no offers of representation.) And I’ve begun to explore self-publishing, something I couldn’t imagine doing even a year ago. (Though I always said I’d never say never.)
Not too long ago, I worked for a lit agent, reading queries and analyzing manuscripts–from current and potential clients. I’ve seen the slush pile and I know that some people clearly aren’t ready to publish what I would consider a quality book. On the other hand, there are many widely disparate variables that go into deciding whether a publisher will buy a manuscript and what kind of marketing push (and advance) they’ll give the author and book. Sometimes quality projects are turned away. (This has been true throughout history. Look at the rejections Harry Potter received, for example. Whether you consider that “quality” literature is irrelevant; the series has made millions of readers happy and raked in buckets ‘o cas.)h
If I decide to self-publish, I would be an unknown debut author. Yet I’m not sure how it would be much different if I were to publish traditionally.
Bookstores are disappearing and it’s harder than ever to get into B&N. I’ve watched many classmates publish traditionally, and I see their wonderful books disappear into some kind of book black hole. Did you see the news the other day that Gilbert King found out his NF book had been remaindered shortly before he learned it had won the Pulitzer? Is that how short a book lives these days?
I hold enormous respect for talented writers, agents, editors and others who help bring good literature to our lives. I am concerned about the state of traditional publishing today and although it’s far from perfect and there are many issues to work out, I believe that self-publishing may be hitting its stride and become a viable option for people who want to write and read quality literature.
As if my previous comment wasn’t long enough, I wanted to add this:
I don’t believe this is the same old “publishing civil war.” Back when I was a book reviewer and member of the National Book Critics Circle, every self-published book I received was bad. Very, very bad. It was called “vanity publishing” because it was very expensive for someone to publish their own book.
The expense just isn’t there these days. (Even when you hire experts, which I agree is necessary.)
There are all kinds of people who publish books these days–and some of the books are still very low-quality. But those authors have their reasons, and their own goals, and that’s cool.
What’s changing, I think, is that people who care about books and writing and have worked a long time on their craft–people who could never imagine self-publishing, even when it was initially possible on Amazon–are giving it another look. The situation is changing rapidly. I find that extremely exciting.
Kellye-
Of course I remember you! And I just wanted to chime in and say THANK YOU for this thoughtful, on-point post. Things are changing so rapidly in the industry that I am not going to dig in my heels and refuse to acknowledge the change. I love everything that you had to say and agree with it all.
Allison
Look, the truth is this: the traditionally published world looks down on self-published novels.
Here’s another truth: income solves stigma.
Thank you, Allison, for this very important article and I’m enjoying this conversation.
I hybrid published in March, 2103 after my agent tried tirelessly to get me a deal with my last two manuscripts. My agency, Trident Media Group, is well known in the publishing world and opened their own ebook division last year to give authors like me a chance.
I think good copy editing will run you more than $500-1000, I would say around 2000. I paid for developmental editing, a cover, (I get loads of compliments on it and did not spend that much, if you look at it online and want the name of my artist, let me know) and publicity through a professional PR agency. Even if I had a traditional publisher, I would have had to pay for PR, I’m sure, and I will never hand in a book without developmental editing again, so that is always going to be a factor.
I wish I had shelf presence, (my book is a real Book Club type of book) and I am an unknown author so my sales are not crazy, but they are solid, and I will have another book out sooner rather than later. Right now I’m building my brand, and that’s what I see as my job.
With your name recognition, I’m sure you will sell whatever you write. I will certainly buy it.
Judy Walters
Child of Mine, March, 2013
Yes, you’re right, Allsion, there is a marked difference between a “known” author self-publishing and a “unkown” author self-publishing. I was an “unknown” self-published author. From 2006 to 2009 I self-published an audiobook, paperbacks, ebooks—fiction and non-fiction. To be a successful self-published author you need to have a foot in the business camp and one in the writing camp. I’d rather being writing.
Why am I seeking traditional publication?
Bottom-line: because I want to be a member of a team.
For me the hybrid press was the way to go AND it had to be with a press made up of people whose skills, integrity, and dedication I completely trust . This felt like I had a lid on the expenses and I trusted the quality of and expertise about the publishing industry. With a curated press I also had the validation being selected on the merit of my book. My press turns down about 75% of submissions). Sort of the best of both worlds for me (barring a major house giving me a giant wad of cash and mega-promotions—the unicorn of the publishing world).
I have friends ahead of me whom I watched carefully who have published all three ways: traditional, self-published, hybrid published. The results and success, regardless of the method of publication, seems to come down to the quality of the book and the elbow grease of the author. The completely self-published route scared me off after I saw a few friends spend boat loads of money for disappointing results from designers, editors, etc. only to have to spend it again to get the result they wanted. Shiver. But a dear friend got a great deal from a big house for a book that I just thought would soar. Her publisher pushed her into all kinds of choices she didn’t want to make from cover design to title, and more. Did it soar? Nope. No guarantees, people.
Great post, and I especially appreciate the discussion going on in the comments!
In nature, they say the area of greatest diversity and growth is the border, where two environments overlap. I’m guessing that publishing is no different. Hybrid feels like a winner, the possible best of both worlds.
Coming up with a plan to leverage traditional exposure in bookstores then offer self-pub titles to “draft” on the momentum built by your first titles seems like a good strategy; conversely, drumming up enough numbers in self-pub digitally then shifting to perhaps a print only deal with subsidiary rights to a traditional publisher might work, as well, especially if you’re sure of a niche that the Big 6 don’t understand or want to deal with.
It’s a lot of work either way. But at this point, I’d say if you’re afraid of hard work, you might want to re-think being a published author.
Both the inexperienced author and the multi-published one can benefit from a hybrid/diversified approach to building a career. As a less-experienced writer, the query process puts me in a position of helplessness and anxiety, so the option to self-publish some projects while I query with others has made me feel more in control of my destiny. My confidence has also been strengthened by reviews. To read others actually gushing over my stories encourages me to keep writing; whereas even one rejection to a query letter can be soul-sucking.
But the advantages to traditional publishing are too great for most new authors to self-publish exclusively. Likewise, I would think the advantages of self-publishing would entice multi-published authors to wield more control over their careers with some self-published titles.
It is quite fun, actually, to plan out a series and the release dates of each book, schedule virtual book tours and release-day events, run giveaways, and watch your numbers go up. It really does offset the anxiety-ridden process of query+wait+submission+wait+wait+wait….
To the person who said she chooses traditional over self because she wants to be part of a team: the team is also crucial to the self-published author. In the former you are given one; in the latter you assemble your own.
And as to ACX (audiobook production website), the first book in my YA trilogy is under production and it cost me nothing. The narrator and I will split royalties.
Great discussion. I do a fair bit of work-for-hire which is all market driven. I am working on my own projects and I seriously doubt I could have the same caliber product working on my own (even with hired help) than with a publishing house. I am not famous, so all I have is my story … so I’m working, working, working at making it the best I can so that I can have someone behind me, backing me up. At this stage in my career, I need that.
I love this post. And I too am commiserating. I stopped specifically on this line, and would love to know more about this…”I resisted immediately and forcefully until I started reading up on how to do it and how to do it well.” Do tell, please. I’d love direction to some of the things you’ve been reading. :) J
Jackie –
That was sort of the amended version of my research. :) I started reading articles – many of which can be found here – like Jane Friedman’s, and sort of wove my way through the internet…there are some interesting hits on Huff Post, etc. I also googled CreateSpace vs. Lightening Source and various other specific research queries, all of which provided insights. One of the issues with self-publishing WELL is that there are very few minds agree on how to go about doing it. So you sort of have to pick and peck as to what info you’re going to use and agree with.
To that point, should I opt for this path, I will probably reopen my blog and document the experience, so others can learn from my mistakes and, hopefully, successes.
Also, I’d be remiss not to say that I have also had extensive conversations and back and forths with other authors, and we have pooled info and thoughts and feedback. Some of whom have indie published, some of whom are thinking of it. Listening to my peers and getting their thoughts has been invaluable.
Allison
I’d love to know what an ‘average’ trad author makes against an average indie author. I’m an indie author (never been traditionally published). I started from scratch, learning along the way and now make a ‘comfortableish’ living from my writing.
Trads that turn indie will always have an advantage over us, and fair play to them. Another trad author that I know, Matt Dunn, has taken the indie route and he’s reaping the rewards, so I say good luck and go for it!
I’m late to this discussion, and there are some great pros and cons debated here. My own perspective is this: I have two literary agents who have championed my fiction for years. But it doesn’t fit the industry’s selling niches. If I didn’t self-publish, I wouldn’t be published at all.
When I published my novel, I felt it was a gamble and might torpedo my credibility, but it seems to be gathering nice reviews (actually, very long, considered reviews that discuss the book in depth).
Now I have a few advantages that made self-publishing an easier decision. I’ve worked in publishing for years. I’ve been in charge of book production for a small press, so I know about all the editing steps and how to make a print book. I’ve ghostwritten novels and have worked with some of the toughest editors in the business; hence I’ve learned to be a merciless perfectionist with the manuscript. If I try to fudge a fact or a plot point, I hear the voice telling me it won’t do.
I’ve appraised manuscripts for a literary consultancy. I do this for writer partners too, who return the tough love. I have been lucky to build up the skills and find the people I need to make my own publishing team. The only barrier I really had to break was the perception that a self-published book hadn’t made the grade. We’re all working on that…
The area I find difficult, though, is publicity and marketing. I’m still floundering there…
GREAT post and very timely. I’m in a little bit of a different boat (I’m not yet traditionally published), but my first self published novel came out on Amazon yesterday. I worked like crazy to make it look perfect — following all the steps you mentioned — and yes I got control but also yes it was a heck of a lot of work and money. I worked probably 12 hour days, no weekends, between the self publishing and working on my current WIP. That is the most frustrating part of the process: there were many, many days I just wanted to write but I couldn’t. And now the self promotion begins (I know, I’d be doing that anyway). But I think you’re right, done right, with the right set of professionals (I hired book designers, 2 editors, etc.), etc., it can be very rewarding. I guess it’s too early to tell if my hard work will pay off (it’s a mystery series and I know the financials won’t reveal themselves for a few more books), but it’s very satisfying to see it “on the shelves” at amazon. I wish you good luck, Allison! Meanwhile, I’m still hoping for my next book (not this series) I’ll go traditional. Tradsies? :)
Congratulations, Julia, on your new book!
Thanks, Judy!! So kind of you!
Happy book birthday! How exciting!
[…] Is everyone sick of talking about the piece in the New York Times on David Mamet and his decision to self-publish? I hope not, because I'm dying to talk about it. So I'm going to…I hope you're no… […]
My two cents are worthless, so I’ll just say thank you, all of you. This is the good stuff, the stuff us writers need to talk about.
Denise Willson
Author of A Keeper’s Truth
Alison, great article and subsequent discussion and I think you’ve hit all the pros and cons well. But I did want to comment on con #6 “It’s a heck of a lot of work.” There are companies that are sort of hybrid–those that help authors publish independently, and also do all of the heavy lifting for the authors. Books are produced like a traditional publisher, but the author still directs and owns his/her book. My company (Book Bridge Press) focuses exclusively on picture books, and we do all the production work so authors can just focus on the book. Your point, “One thing that cannot be understated is how much work goes into producing a good book” is very true. It is a lot of work! And it really takes skill and expertise to do it well. It is a fascinating time in the world of publishing with many ways to publish. Thanks for a great discussion!
But self-publishing is, essentially, akin to launching a company.
Truth. And launching a company is hard work. But I know whatever you decide, you’ll move ahead with eyes wide open. (And we’re here for you, whichever road you take.)
Wonderful post and discussion. Thank you, Allison, Courtney, Don, and all.
This was such a great discussion with very intelligent and thoughtful information all those interested in self-publishing should take into consideration. We have over 100 readers in 10 countries reading self-published books to find ones worth a readers time and money- we then honor it with our B.R.A.G.Medallion. We are finding about 10% of the books we consider are well conceived, properly edited and ready for prime time! One thing that must be kept in mind is that not many of these authors have had the chance to choose between traditional publishing and self-publishing. We all know that most manuscripts are rejected with barely a sentence being read (if any!) There is a growing group of authors who, after having a book published in the pas,t are turning to SP but many more are just not bothering with the nearly impossible task of finding a publisher willing to take them on. The number one thing to consider before publishing yourself or approaching a publisher for that matter, is that there is NO audience for a badly edited or poorly formatted book. As a number of comments above have pointed out it does not need tremendous cost but it does need diligence and hard work. Far too many writers push “publish” way before they should! Once your book is the book you want the world to see, then begin to find your audience. Understand that self-publishing and promoting is a lot of work but you may not get as much from a traditional publisher as you might hope.
This is a great discussion and it’s nice to see the pros and cons on both sides. Years ago my first novel went up for auction, it didn’t sell but it was an exciting experience at the time. To make a long story short I eventually decided to self-publish. At that point there was still a great deal of stigma attached, but I went ahead with it anyway, mostly because of my inherent Irish stubbornness. Ten years later, I have a series of books- the latest of which won an award for historical fiction last year. I have sold thousands of books, tens not hundreds, and have a very loyal following. I do hire editors for each project and a graphic designer to do my covers. It’s been a long, hard slog and I don’t suggest anyone go into it without their eyes wide open. It has worked out well for me though. I’m not getting rich, but my audience is growing with each book and my leap of faith into self-publishing has allowed me to actually keep writing and make money at it.
One other point about your observations on getting into book stores:
Even if you get past the sales pitch hurdle, big chains like Barnes & Noble won’t order books from a self published author or micro press that can’t provide a return service from Baker & Taylor or similar.
Again, this piece of the equation may not matter if the author hits it out of the park with internet sales/ebooks.
Good luck with your decision!
Another two-and-a-half cents:
To self-publish is indeed to go into business. Like any business, there has to be a market for what you do, else you fade away into the graveyard of unwanted products. So what do your readers want, and how can you provide it? Think like a publisher, not just a writer.
I advise the people I work with that niche nonfiction has the best chance in self-publishing. Know exactly what you have to offer a reader, and tailor the book(s) to fill a need. Then market directly to your consumer — ‘cuz yeah, it’s all on you.
Genre fiction writers who invest in self-publishing need to be honest: do they know how to reach their niche readers? IMO, fiction writers, especially those working in literary forms, will do better to consider trad publishing first, even if it’s the small presses. The exception (maybe) is those who already have a name and fan base.
Last thought: if you trad publish, get a contract that specifies if the book vanishes, all rights revert to you. Then you can self-publish it as a second edition.
It will be interesting to see what B&N does as more authors with big names, like Allison, start considering indie publishing. B&N knows Allison’s name sells books. They need to carry her.
I’m really enjoying this conversation, mostly because it doesn’t feel like anyone’s attacking anyone’s choices, and there’s no polarization here. I’ve seen SO much polarization with this topic in other forums.
All of this said, I’m still unsure how I will publish my next book. It’s with the editor right now, so I have a bit of time, but it’s not going to be long before it’s ready for eyes.
Good grief, don’t spend 10k to publish a book.
You should not pay a cent for print books. Not a cent. Use CreateSpace at Amazon.com. They print on demand. Someone orders one copy, they print one copy. You sell three, they print three. They also distribute to Barnes and Noble, Powell’s Books, etc. All this costs nothing.
I’ve independently published three books and spent less than 1k apiece. I hired a cover designer and a copy editor and no one else. You don’t need anyone else.
I get a siginificant percentage of my income from those three books, more than I make from traditional publishing. I am not interested–at all–in returning to traditional publishing.
Your mileage may vary.
Great conversation and great post Allison. I have done both (as far back as 1998) and still do both agree with a lot of what has been said but would describe it this way:
Success with fiction is a lottery no matter if you self pub or trad pub, as my friend Barry Eisler says. It all depends on which game you want to buy your ticket in.
And it is going into business. 100%.
Anecdotes are not data. So when making your decision don’t look the big successes in each camp – look at the average author and make your decision based on those people.
Most books don’t hit it big either way. I run a marketing company and have clients in both camps and see success in both camps. My big cautions are –
1. Read all the success in self publishing stories carefully. Romance/Fantasy/Paranormal for YA, Adult and New Adult are by far the big winners.
2. Pay attention to who is behind the authors who succeed. There are a lot of other success stories and when you dig deep you find that one retailer really moved the books. Or the author has a huge platform etc.
Apologies if this has already been mentioned…I read quite a few comments and had to start skimming for purposes of time. Allison, I don’t think readers are going to look to see who the publisher is of a book that catches their eye, both with the cover and the product description. Existing readers will recognize your name and buy your book. New readers will do as I already mentioned. The so-called “stigma” of self-publishing really is non-existent for someone like yourself who is willing to spend big bucks to produce a quality reading experience. It’s the name recognition and the product’s appearance that count, not who published it. Readers aren’t going to say, “I can’t wait for that new Allison Winn Scotch book from [insert publisher name] to come out;” they’re going to say, “I can’t wait for Allison Winn Scotch’s new book to come out.” I have successfully transitioned to indie publishing from traditional (I had no choice; my publishers dropped me), and I haven’t looked back.
[…] The New Era of Self-Publishing from Allison Winn Scotch at Writer Unboxed […]
I completely agree with you Allison. I’m currently in the process of self-publishing, like you. But unlike you, I don’t have any traditionally published background at all (so I truly know how difficult it is).
And it has thus far cost me a pretty penny as well, since I wanted to be as professional as possible (if I’m to “compete” with books that have the best in the industry behind them, then I felt I need to. Also, despite being self-published, I would like to be taken seriously).
Your figure of about $10,000 (I’m including a professionally designed website as well) is about right. $10K to $15K is what I’m seeing myself on (especially with marketing involved).
Also, all of this is very complicated and definitely very hard work (being a newbie in the industry, there’s so much to learn and do!)–but this is what I tell myself:
1) I love writing and I want to start on my writing career as soon as possible (which is easier to do, in terms of putting your writing in front of people’s eyes, than going the long route).
2) It’s a lot of grueling work, but I do love writing. Besides, from what I’ve seen and heard, it looks like you can’t really succeed unless you take the dive. And don’t give up.
I really appreciated this post of yours. I think it’s right on the dot, and I commend you for facing this potential path, no matter how scary it may be (and it is!). Whichever way you pick though, I wish you much success :)
Thanks, Alessa. This is very helpful. Good luck!
Allison, this is a huge thorny issue (as the comments show) with very valid arguments on both sides. I just wanted to add my personal experience. I have done both– I have had the big fancy ‘major deal’ contract from a big 6 publishing house and have also indie published another series. And certainly there are good aspects to both experiences. But just straight numbers? I EASILY sell 20 times more copies of my indie series than I do or ever did of my trad pubbed one. And I’m including bookstore sales in there, too. I don’t have an awesome platform, definitely did not have a built-in audience from my first series; I would say the crossover between the two was probably close to zero. And I’m not even at the level of being one of those amazing ‘breakout success’ stories you read about, either– but even so, my indie series is still earning us an extremely good living and is only growing with time. Just want to say that it’s not an either/or– like either you flop or you make it huge.
Hmmm, I’m going to have to rethink what I tell my folks. It seems fiction can win the game, if it’s the right topic. Kudos, Anna.
Anna- thank you for this. It is very helpful and supports where my headspace has been at in the past day or so. I really appreciate it.
You’re very welcome Allison! Just wanted to say, feel free to shoot me an e-mail if you have questions or want to know more specifics or just generally chat. It’s a tricky issue and a really rapidly changing one, and we’re all finding our way!
I’ve followed this site for a long time and have never commented, but this post has prompted me to set up an account just to say thank you for an very informative discussion on the traditional vs. self-publishing routes. As a newcomer to the world of manuscript publication, I can really benefit from weighing all the different pros and cons that were raised.
To find an good online exploration of different perspectives that maintains civility feels like a rarity these days, so thanks again to everyone who added his or her ideas.
I hear your fears and see a common wuss factor. Business isn’t for everyone and if you don’t have a business mind and guts avoid it.
Your piece above can use editing, so it would be wise to use a copy editor. On the other hand, a lot of really bad books do very well and a lot of traditional books are full of mistakes because the industry is working less hard at fine tuning– anything that cost money is getting cut back as they struggle with a dying business model.
Business is business and publisher are as cut-throat as any other business although you may not see the dirty tricks they play. If you have the balls get on board the self pub barge do it, if not you will go down with this sinking industry.
My take anyway. It’s not a question of if to jump rails it’s more like when– how long it will be before you are forced to jump. kerosine killed the waling industry– every industry runs it course. You can ride the wave or languish in the backwash- it’s up to you.
[…] Writer Unboxed » The New Era of Self-Publishing. […]
First, excellent and fair assessment of the pros and cons. A few questions…what type of book are you writing now and when do you expect to make a decision on how you will publish it? In addition, do you think the genre of the book is a decision factor (such as fiction vs non-fiction)? I’ve heard that fiction is better suited for indie while non-fiction is better suited for traditional. Do you have an opinion on this aspect? Comment on new technology…perhaps the indie publishing is similar in “change acceptance” to iPhones, email, computers and on-line dating. On-line dating in particular was viewed 5 years ago as something used by desperate people, losers and social outcasts. Today, on-line dating is mainstream. I think the “social” taboo about indie publishing will fad faster than you think because the technology is there and easy to use. If you are a “hunk” or a “doll”, you are going to get the premium dates and if you have a great story, I believe it will sell either way. Thanks for sharing your pros/cons and look forward to your response to my questions!
Nice work, all. I feel as if all that’s necessary for this party is the sweeping up of the confetti. So here’s my attempt at handling the broom:
It’s not either/or. We writers hold the ultimate power– our stories. Publishers need them. Agents like Donald Maass need them. Readers love them. So why would we just indie publish or just trad publish or do anything other than whatever we please with our power?
If we treat our stories as powerful, then the perspective changes. We don’t sell our power to someone else for pennies on the dollar. But at the same time, do we have the guts to use our power on our own? Do we have the confidence to know that our power is indeed powerful and that it can change people’s lives? We have been given a magic wand, but we can’t just wave it. We have to own the magic. We have to know the magic. We have to USE the magic!
So never close doors on one publishing method or the other. Just stand up straight and tall, Harry and Hermione, and learn how to harness your power. Then go out, adventure, do good, and have fun.
I self-published my first novel, and it was a disaster. The worst mistake was they printed it in 9 font, insisting I sent it in that way. I sent in 12, but why didn’t they question me if they received the wrong size?
I started researching agents for my next book. Originally I had written it for mystery/romance, but now I’m changing it to a Christian series.
After reading this article I am considering self-publishing again. My profit with the other one was good only if I bought 1000 books.
I read a comment that with a standard publisher they didn’t make much money; another one had that sales were low.
It almost seems that getting published is a hit and miss kind of deal. I started writing after I retired, and I’m very new to the whole business. Is there anyway to tell who or what is the best fit?