“Award-Winning Author:” What Does It Mean—and Does It Matter?
By Barbara Linn Probst | August 16, 2022 |
Who wouldn’t love to win a prestigious award? The National Book Award. The Booker Prize. The PEN/Faulkner. The Women’s Prize for Fiction. The Pulitzer and Nobel.
Few authors will achieve that level of recognition, but there are many “smaller” awards that are far more accessible. And if you win one of them, you still get to call yourself an “award-winning author,” right?
Hmm. Let’s talk about it.
First, some facts. These “facts” are not meant to imply that award contests are a scam or that one shouldn’t enter them. Rather, they’re meant to offer a realistic context in which each of us can make informed decisions that suit our individual goals, budget, and vision.
Fact #1. While the “big” awards may include a monetary prize for the winning author, the majority of smaller awards do not—instead, the author must spend money to enter. Entry fees range from $60-95 per title, although the actual cost can be much higher if you enter multiple categories, since each has a separate fee. More about that below.
It’s not unethical to charge a submission fee. There are overhead costs to the host organization, including the staff time it takes to process the thousands of entries that each program receives, but it’s good to be prepared. Some organizations offer an “early bird” discount. Others, like the Lambda Literary Award for LBGTQ authors, have different submission fees for authors with large publishers and those with small or independent publishers.
Fact #2. Awards operate in different ways, including who can apply. While some contests (like the National Book Award) are open to all authors, regardless of publishing path, others (like the Booker) will not allow authors to submit their own work; only publishers may submit, which means that self-published authors are excluded. There are also regional awards, limited by where you live, as well as awards for specific genres such as science fiction, romance novels, Christian fiction, and so on. In general, the wider the eligibility net, the more competition and the greater the prestige; thus, national and international awards tend to viewed as more significant than local or regional ones.
Many contests are specifically for “indie authors”—authors who have published with a small, university, or hybrid press, or have self-published. Titles from the large publishing houses are not eligible. “Small press” usually means fewer than forty titles a year, no advance paid to the author, and possibly a print-on-demand arrangement. However, these distinctions vary. The Nautilus Awards, for instance, separates books by “large” and small” publisher, regardless of whether the press is independent or traditional. Thus, a Nautilus win by an indie author with a “large” publisher means that she has competed against authors from the Big Four.
Fact #3. Awards can be a big business. This is especially true for the independent book award programs, which also solicit winners with offers to purchase seals or stickers for their books, and to “take advantage” of special advertising opportunities to increase their visibility. These promotions can be aggressive and hard to resist.
Among the best-known of these independent awards are:
- Best Indie Book Award
- Eric Hoffer Award
- Foreword INDIES Book of the Year
- IBPA Ben Franklin Awards
- Independent Publisher Book Awards, also known as the IPPYs
- National Indie Excellence Awards
- Next Generation Indie Book Awards.
- Readers Favorite Awards
There are certainly others (such as the American Book Fest, Chanticleer, and International Book Awards); the list above is not meant to imply that all other awards are less legitimate.
For sure, there are a lot of awards aimed at independent authors. Having observed this phenomenon up-close—personally, and through conversations with other authors—I’d say that it’s because indie authors are a good fit for these contests. We’re used to taking book promotion into our own hands, since we don’t expect a big publishing house to do that for us. We’re also looking for ways to increase our status, and have accepted that we’ll have to spend our own money to do so.
The question is how to discriminate and spend that money wisely. We want to know:
- Which awards are “worth” applying for?
- How many award contests should I enter?
- Should I focus on “high prestige” awards, or awards that I think I have a chance of winning?
- Do these awards really matter?
Like nearly everything in the publishing business, the “answers” are subjective. It depends on the kind of book you’ve written, your goals, budget, and priorities.
With that in mind, let’s continue unpacking the subject.
How do these contests work?
Each contest has its protocols. Some require hard copies; others will accept digital versions or ARCs (pre-publication galleys). The most important thing to follow the instructions exactly. The postmark, the number of copies, the registration form. Failure to do so can be cause for elimination.
As noted above, some contests have only a few categories (like the Sarton Award for Women’s Fiction). Typically, however, there are many categories to choose from, and an author is free to enter her book into as many categories as she wishes. The IPPY Awards, for instance, have 90 categories, plus fiction and nonfiction awards in 12 regional categories, plus 10 categories specifically for e-books. The National Indie Excellence Awards have even more categories.
It’s rare to find a description of what these categories mean to the judges, however, or details about what they’re looking for. The Next Generation Indie Book Awards does provide a short description of each category, as well as links to “similar categories.” However, that’s still just a description and not a set of specific criteria. In general, authors are not given any details up-front, so it’s difficult to know how your book will be evaluated.
Without being able to target your submissions by matching book-to-criteria, some authors opt to “go wide” and enter a lot of categories. Clearly, the more categories you enter, the more chances you have to win something—especially if some of the categories are very specific. It’s easier to be a gold medalist in Great Lakes Regional Fiction, for instance, than in a very broad category like “Popular fiction” or “Literary Fiction.” At the same time, the cost for entering multiple categories can escalate quickly.
The number of “winners” varies from program to program. Sometimes there is a gold, silver, and bronze medalist in each category. Sometimes there are “honorable mentions” or a “runner-up;” there may also be long and short lists of “finalists.” The more “winners,” the greater the number of happy authors—who are likely to publicize the program through their own self-promotion. After all, who can resist sharing the exciting news that one is now an “award-winning author?”
As with most contests, if you don’t win, you’re unlikely to know why. The only contest I’m aware of that shares its rubric (and your score) is the IBPA Ben Franklin, but that’s after-the-fact, to explain why you lost points and, as a result, did not receive an award—which can be for elements like the type font and the quality of the paper, even if you received perfect scores on plot, characterization, and writing.
How can I decide which contests to enter?
The answer depends on the relationship between the awards you would love to win, the awards you think you might win, how much you’re willing to spend, and your tolerance for (possibly) not-winning at all. Here are some questions that may help you work out that equation.
- Fit. If there is a contest that interests you, look at the books that won in your category over the past few years. Are they “like” yours, in some way? Can you see your book next to them? Have you read (or heard of) any of them? If not, look them up on Amazon. That may provide insight into what the judges like.
- Categories. If your book doesn’t really fit into any of the categories, don’t try to make it fit. Better to pass on that award and try another.
- The host website. What is your impression of the sponsoring organization? Is the mission clear? Does the website make extravagant promises? How easy is it to navigate? Can you explore the categories before registering your book, or only after you’ve committed (and paid)?
- Your budget. How much/what proportion of all your overall marketing budget do you want to allocate for these award submissions? Would you rather spread that amount over several award programs, or focus on one or two that you really like (and, perhaps, apply in multiple categories)?
- Your goals and expectations. How important is it to you, to win an award? How would you feel if you didn’t win anything?
Remember: The same book that was passed over in one contest may very well be a medalist in another. There’s no way to know the reason— judges with different tastes or sensibilities, the competition for that particular award at that particular season, a close-call that you’ll never know about. If you don’t win, don’t take it personally. Move on.
Remember, too, that you don’t have to enter every contest at the same time. Many of the contests are open to books published over a three-year span. Thus, if your book is published in 2022, you can submit for a particular award in 2022, 2023, or 2024. You can even submit a second time, if it’s an award you’d really like to have. Some contests have very long lead times, while others close only weeks before the winners are announced.
Some people like to submit early, even with an uncorrected ARC, in the hope of being able to include the award in their launch material. On the other hand, there’s something to be said for waiting so you can (if you’re lucky) have fresh news to announce later. Winning an award, even a year or more after publication date, can give your book renewed visibility and spark a new burst of interest.
And now for the big question: does it matter?
There’s no way to tease out the specific element that makes someone click on buy now. It could be the recommendation of a trusted friend. The cover, title, and/or similarity to other books they’ve enjoyed. “Seeing it everywhere.” I did some research on this question a few years ago, and I’m guessing that things haven’t changed very much. My instinct is that an award in itself (unless it’s one of the awards noted in the first paragraph) won’t do the trick. More likely, it’s a combination of factors. Awards, trade reviews, and endorsements are all ways of establishing credibility. You might not need all of them. More may not be more, for a potential reader, especially when it comes to lesser-known awards.
The other question is whether these awards matter to you. Whether they do or don’t, whether you win or don’t win, it’s important to remember that these awards are not the final determinant of your worth as a human being or your talent as a writer. They are one thing. That’s all.
And yes, in the spirit of transparency, I do describe myself as an “award-winning author.” I’ve won medals in highly-competitive contests and categories, and I’m proud of that. But I consider it just one element among many, and will always believe that what really matters to me is whether my work touches and enhances the lives of actual readers.
What’s your experience?
When you decide to buy a book from an author whose work is new to you, does “award-winning” make a difference? Do you think the label “award-winning” is applied too loosely and should have stricter criteria?
Barbara (she/her) is an author of contemporary women’s fiction living on an historic dirt road in New York’s Hudson Valley. Each of her acclaimed novels (Queen of the Owls, 2020; The Sound Between the Notes, 2021; and The Color of Ice, 2022) was a medalist for prestigious national awards, including the Sarton Award for Contemporary Fiction, the Independent Book Publishers Award, the Hawthorne Prize, and the Nautilus Award for Fiction. Her fourth novel, Roll the Sun Across the Sky, launches in May 2025 and has received stellar advance praise. Barbara has also published more than 80 articles on the craft of writing and the writing life. She has a PhD in Clinical Social Work and has been a therapist, teacher, researcher, and advocate for out-of-the-box kids and their families. When not writing, she’s a serious amateur pianist and a traveler to spots from Iceland to the Himalayas. Learn more on her website .
[coffee]
Hi Barbara:
To people in the industry, “award-winning” all too often means “highly respected and widely unread,” i.e., good writer who doesn’t sell.
Not that I’d know anything about that.
That doesn’t mean, however, that awards don’t matter, as you so aptly point out. Great post.
I’m so glad you found the post worthwhile, Dave! And, as you imply, awards are probably like so many things in this business, in that it’s not a question of yes/no (valuable or meaningless) but rather: to whom, when, why, and how much they matter. I could have added a paragraph (now I wish that I had) about when in one’s career it might be good to apply for awards. I think it can definitely help in the beginning, if only for a boost to one’s confidence. Hopefully, others will read this comment and add that to the discussion :-)
Barbara – super informative post. Thanks for sharing this information.
Thanks, Kathryn! There really isn’t much out there to guide us through this maze, so I’m very glad it was helpful to you!
Very helpful, Barbara. There are SO many awards, and I’ve been wondering whether it’s worth it to go that route and how to choose among them if I do. I have a novel coming out early in 2024 from an indie publisher, and I’m trying to learn as much as I can now about how best to “put it out there.” This article is a keeper. Thank you!
So happy to know that, Gerry! Luckily, you have time to watch the process for the awards that interest you—to watch who wins, and also to look at other Indie novels you admire to see which awards (if any) the authors cite. I would start with the ones on my list, which are probably the best-known. I also think it’s really important, as mentioned, to do the math. Every form of promotion costs money, and none can guarantee a return on investment, in itself, since it’s cumulative … Think about the overall impression you want to convey, which includes cover art, burbs, etc., and best of luck to you!!
Regarding my own reading habits, “award-winning author” does not mean to me that the particular book I am considering reading will be excellent, because all of us write some books that are “better” than the others we have written, and what may be my favorite book by an author will not be someone else’s favorite book by the same author. Just like we all have a favorite album by our favorite musical artist, and even within that album there are likely songs that we skip. If the book I am about to read is the one that actually won the award, that *may* be another matter. Or it may not.
To me, it’s the same thing as “bestselling” author. There are plenty of bestselling authors I have tried out and thought, “Nope. Not for me.” After all, just because a lot of people bought a book doesn’t mean it’s something I’d like. There’s a certain kind of bestselling author who writes down to a popular level that I’m just not all that interested in reading. But they have to write to that level in order to sell that many books.
Some of my very favorite books of the past few years have been by relatively obscure or debut authors I happened to hear about. I think those writers should certainly have awards because they are truly excellent writers. But they may not, they may never, and in fact they may not ever publish any more books because the one I adored didn’t sell fast enough to satisfy the machine that is publishing today.
All that said, if I were to choose between two books, one by and award-winning writer and one by a bestselling author, I would choose to read the award-winning writer. Because there is at least an implicit promise of quality writing in that. Bestselling just means it pleases a crowd (or played on FOMO dynamics I’d prefer not to feed into).
Thank you for you long and thoughtful comments, Erin! And yes, such a good point about the difference between “award-winning” and “best-selling” (the latter also has a wide-range of meanings, because one can legitimately claim that label if one’s book reached #1 in its Amazon category on a single day). And, of course, those beloved authors who don’t have any awards to their name … it could be that they never applied, not that they applied and were not chosen. There’s no way for a reader to know, and so we choose books that appeal to us for reasons that are, at heart, very personal. Thanks again!
Great, comprehensive article, Barbara. I notice that authors with small presses tend to be very selective with which award they enter, or don’t enter any. But they already have the prestige of being traditionally published, even if by an indie or university press. For hybrid or self-published authors, awards are one of the few tools to “look prestigious” in the eyes of readers (not in the eyes of the industry, as David astutely commented above). That said, I think it may close some doors within the literary circles, which look at authors with 15 awards, some dubious, as less than them who entered the publication world through a traditional publisher. Awards are only for the readers and the authors satisfaction, and both are respectable reasons to apply.
Thanks, Isidra! As you say, context matters. For some people, the publisher matters more than the awards; for others, it’s the opposite. And for a third person, it’s the endorsements (or blurbs). That goes for readers AND for the writers themselves. There is room for all points-of-view, and all are worthy of respect—and in the end, the story must work :-) Without that, we might buy a book but not love, be touched, or remember it.
Educational post, Barbara. Lots of great detail to savor.
I can only speak from personal experience, but I think the biggest boon to winning (or being short-listed) for a substantial award is confidence. As writers, we spend a large amount of time in our heads, staring at computer screens, and doubting our knowledge of the craft. While gate-keepers like literary agents and publishers have the ability to boost a writer’s self-confidence, I find literary awards to be less about the business side of a manuscript and more about the prose and message (of a manuscript). For me, winning the Kobo Award provided the reassurance I needed to feel comfortable in my author skin.
Still, it’s difficult to overcome imposter syndrome. I have days I hide the title of award-winner for fear someone will think it means I no longer have a substantial amount to learn about the craft. I do. We all do. And I suspect that learning will never end. LOL.
Yours,
Dee
Thanks so much, Denise! You read my mind, because I had added a comment (above) that an award can boost the writer’s confidence, and that’s important too :-) Writing is such long and hard and solitary work, and its external “rewards” are so elusive and fleeting. If acknowledgement from a trusted source, like an award-conferring organization that one respects, can help us keep going = that’s a good thing!
As someone who is still in her debut “year”, I’ve entered a fair number of contests in the last six months and won top prize in the National Indie Excellence Awards this year. That came with a monetary prize as well, which set it apart from many of the rest and also paid for entry fees on others. That’s the one I chose to list on my Amazon profile and adhere the sticker to the front cover for book festivals. As to your excellent post, it covers all the relevant aspects to consider when deciding where (or even if) to enter contests. I will pass on contests where women’s fiction (my book) is lumped with romance (not the same genre) or past winners are books I’ve never heard of. But for a writer with a small press like myself, it’s another way to lift awareness (not necessarily sell books – who knows what THAT magic formula is?) When I handed a copy to my doctor a couple of weeks ago (we’ve been talking about my writing a book for several years), the first thing he said was “Oh, I see it even won an award” (from the front sticker), reinforcing that for some people, that indication of legitimacy counts for something.
But when it comes right down to it, I know I did it for the ego boost. Nothing wrong with that. Writers get so much rejection that it’s nice to get an extra pat on the back every once in a while.
I love your honest comments, Maggie! Yes, for some readers (or potential readers), the “award sticker” adds extra legitimacy and prestige, so why not? And I agree, there is nothing wrong with enjoying an ego boost. We all need to hear “well done!” in this tough, tough business. An award cannot be “bought,” so it will always mean that someone (other than one’s mother) thought the book was worthy. I think the secret is not to take winning OR losing an award too seriously. In my own experience, the same novel that was passed over in a couple of contests was a medalist in others. So we roll with it … why not enjoy those moments of pride and pleasure when we’re lucky enough to have them?
The value of awards also depends on the genre you write in–as does whether you pay a submission fee or not. As a science fiction and fantasy writer, I’m very reluctant to pay a fee to compete in a general fiction contest, even if it has a slot for my genre. Why? Because often the readers in my genre have rarely heard of the award, and also because those competitions rarely have judges who know the genre. I’m just throwing my money away, even though I’m a cross-genre outlier (or perhaps because I am).
(Then again, I will never submit to a fee-charging market, either. I suspect I’m not a good fit for the literary world for that reason, even though at times I veer into stylistic writing that would otherwise match.)
We’re somewhat spoiled in SFF. I can think of at least four significant award contests that do not charge a fee. The Philip K. Dick Award, the Hugos, the Nebulas, and the Dragons. Then there are the two indie-specific genre contests, the Self-Published Fantasy Blog-Off and the Self-Published Science Fiction Competition. And those are just off the top of my head, as there are also other awards that tend to be subgenre or location-dependent.
I freely admit I’m jaded, but over fifty years ago I submitted something to one of those charging contests that basically includes anyone who pays to submit in their anthology. Figured it out when I got the letter saying I had won–now buy the anthology and I would get the award.
Thanks, Joyce! I really appreciate your remarks about the differences between genres. As Maggie also noted above, genre- or location-specific contests can be very different from those that merely divide between fiction and non-fiction. And it may very well be that readers who have definite genre-preferences (such as science fiction/fantasy) put less importance on awards than readers of general fiction, who may have a wider field to choose from and thus are looking for some indicators. Who knows? If I knew what makes a reader select one particular book above the other options, I would bottle it and sell it ! LOL
Barbara, thanks for such a comprehensive post on awards and if they matter. Some of the biggies in children’s lit, like the Newbery or the Caldecott, mean that the book might never go out of print. So yeah! It matters. I confess to dreaming of receiving awards, because it can be a mark of excellence, and I hope for it someday. I think this desire comes from my convent schooling in India, where students in each classroom were ranked every month and there was a “First in Class” badge that I coveted and even got to wear sometimes :) I might have hit my peak in 5th grade though, winning 5 out of 7 academic awards at the end of the school year. What an ego boost for a kid who wasn’t good at much else and got punished routinely for daydreaming. It’s come in handy for this writing life. I still remember winning a short story contest the day the biggies were announced and how good it made me feel. I wrote about it here: https://vijayabodach.blogspot.com/2016/11/stretching-and-winning.html
After I self-published my first novel, I looked into awards to see which ones might give more visibility. I only submitted to a couple that I was eligible for in the ALA because it seemed that the vast majority of awards had a hefty fee associated with them and when I looked at previous winners, I wasn’t convinced they’d be worth it.
As to my reading habits, awards, blurbs, stickers, etc. don’t sway me. I read what I want to read and it’s a huge variety. Some of my favorite books are actually quite obscure. But others have been bestsellers. I’ve been impressed with the Newbery winners and honor books.
Your newest book looks lovely! Congratulations!!!
Thank you for weighing in, Vijaya, and for your warm words! Yes, the two awards for children’s books that you mention do carry high prestige and help parents feel confident in selecting them for their children. It’s interesting, as you note, that we yearn for awards as WRITERS, even though they may not make a difference to us as READERS. I’m the same way! It feels very human to love praise, acknowledgment of a job well-done As long as I don’t feel devastated when I don’t win :-)
Hello Barbara. I view “Award-winner” with the same skepticism as I do “New York Times Bestseller” (thank you, Ray Ramey). It’s all but impossible to research the topic of legitimacy, especially as related to smaller contests, but I can’t help thinking that a lot of insider trading goes on. “My friend Sally’s book is a good as the others, so let’s give it to Sally.” In the end, awards are marketing tools, and the best marketing tool is probably 4- and 5-star reviews.
True, an award is a marketing tool, because it becomes part of the book’s c.v. forever. There are many such tools, including trade reviews, Amazon customer reviews, blurbs, and so on. Each implies a different source of legitimacy. It helps to have something … though one may not need all of them for every book :-)
Perfect timing, Barbara! I’m just about to submit my memoir for an award, and it’s helpful to have this input…
Very cool, Gabi. Good luck!!
Thanks, My Friend. Made some notes for future use.
My publisher recently informed me that Sandstorm is one of 3 finalists for a CIPA/EVVY award in the Women’s Fiction category. I was delighted and happy to be congratulated by so many of my Facebook friends. Yet I wonder – are these competitions healthy for the arts? So many unknown geniuses labor in obscurity. Maybe there should be more awards for them too. Because ultimately being creative should be its own reward; if not we become racehorses of little value if we don’t win, place, or show.
I’m glad you raised the question of whether competition is “healthy for the arts” and whether “creativity should be its own reward.” These have been troubling questions for generations! We don’t like to think of brilliant artists dying in poverty and obscurity or, on the other hand, of people adapting their creativity to please the marketplace “simply” in order to make money (although we all need money to live).
Does money earned, copies sold, or awards accrued equal quality? And who is really qualified to judge the merit of one work of art over another? I don’t have the answers to any of these questions but, as a friend of mine pointed out last night in a private email, writing is the only one of the arts (if indeed it is seen by its practitioners as an “art”) that has all these endless contests … food for thought … Anyway, thank you for contributing to our discussion!
Your point about genres is important. I belong to the Cat Writers’ Association because I have written about cats for many, many years and have won several awards from the CWA. I think it is important because my articles probably wouldn’t even meet the criteria for other award groups. Same with my book. You have to be in the cat world to appreciate this topic. Great article and timely.
Thank you, Barbara, for this timely and thoughtful review of positioning oneself for recognition through awards. I learned a lot.
Your last sentence really resonated: The deep gratification in hearing from readers about how your book has touched them and even changed their lives…. Since my book coming out in Nov. is about loneliness–part frank memoir/ part frank interviews with therapists, friends and strangers– it is my hope it helps some readers begin to mend and heal as we move through an increasingly isolating and fractured world.
Your successes are an inspiration to me.
Terri Laxton Brooks