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Publetariat Dispatch: Have You Bashed Your Indie Author Today?

Publetariat: For People Who Publish!

In today’s Publetariat Dispatch, we share a post from Dani Amore which originally appeared on her Goodreads blog on 9/21/11 and was reprinted on Publetariat in its entirety with the author’s permission.

If you read the headline above, you may think I’m going to launch into a rousing defense of indie authors everywhere.

I’m not.  Frankly, I think there are a lot of bad indie books, but I  also feel there are a lot of bad books put out by the established  publishing industry.  I also think there are a lot of fabulous indie  books, as well as amazing traditionally published books.

[Editor’s note: this post contains strong language]

So why write this post?

Well, I recently read a thread on which indie authors giving their  books away for free, or pricing them cheaply, were compared to street  corner prostitutes with syphilis, metaphorically willing to service  clients orally for pocket change.

Being a person with a sarcastic and often caustic sense of humor, I  laughed initially.  But then I thought about it.  And I thought of some  of the bestselling novelists who are giving away, or have given away,  their books away for free.

Lisa Gardner, for instance, offered her novel ALONE for free.   Andrew Gross offered one of his novels for free.  Currently, Ted Dekker  has a short story/prequel for free on Kindle.

I don’t hear anyone referring to Ms. Gardner, Mr. Gross or Mr. Dekker as cheap whores.

So what do I make of this?

Well, I work in advertising.  So I’ve experienced firsthand the  meeting of brands with the marketplace.  I’ve sat through many, many  focus groups.  The result?

I believe good products survive.  There are always critics.  Some  with sound, astute comments.   Others, sheer nutjobs.  Like the lady in a  focus group who raved with great eloquence about my television  commercial, then proceeded to talk about having sex with aliens in the  Everglades.  (True story.)

So what do I think of the glee and vitriol that seems to accompany the skewering of indie authors?

Couple things.

No fear of retribution.

I think it’s a lot easier for someone, let’s call him Wannabe Writer  William, to bash an indie author than it is for him to trash a  bestselling novelist.

Why?

Well, the bestselling novelist, let’s call her Bestselling Betty,  has clout within the industry.  She’s with a big publishing house and  probably a big literary agency.

(Who knows, maybe Wannabe William has submitted his unpublished  novel to both and is hoping to hear some good news – he wouldn’t want to  jeopardize anything.) Bestselling Betty also writes dynamite blurbs and  the occasional book review.  If William ever sells his book, he might  be asking Betty for a blurb.

Does he want to piss her off?

Hell no.

But what about bashing Two Jobs Ted?  Ted’s a grocery store manager  and a part-time reporter for his local paper.  He’s married, with three  kids.  He’s also an indie author who just published his first book.   It’s good.  He didn’t have money to hire an editor, but he had friends  he respects read the book, as well as proofread it.  It’s a little rough  around the edges, a few typos slipped by, but overall, it’s a good  story.

Wannabe William reads it.  He catches the typos.  Maybe there’s a  small plot twist that doesn’t make sense.  Wannabe William decides to  bash Two Jobs Ted.  This is just the kind of thing these indie authors  are putting out while his book sits in the corner, garnering no  interest.  So William tees off on Ted.  He’s not afraid of Mr. Two Jobs –  what’s he going to do, send William some day old bread from the grocery  store?  Write an unflattering story about William in his paper, the  East Bumfuck Bugle?

The Power of the Asterisk

You all know the guy or gal.  If they ever lose a game, or their  favorite team gets knocked out of the playoffs, they have a knack for  creating what I call the Asterisk Excuse.  It usually goes something  like this:  “Well of course my team lost, three of our starters were out  with Indonesian Malaria, and the waterboy spilled Ecstasy into the team  Gatorade.”

You get the idea.

Wannabe Writer William has yet to sell his novel.  And it pisses him  off to see indie authors selling books, getting reviews, maybe even  making it on to a few bestseller lists.  But what really chaps his ass  is when they refer to themselves as “authors.”  It infuriates William!

Each rejection letter from an agent, editor or publisher makes William feel worse, and fuels his anger.

What would make him feel better?

To point out that books from indie authors all have asterisks.   They’re not “real” books or authors.  Want proof?  Look at Two Jobs Ted?   He sucks!  In fact, ALL indie authors blow!

There, now William feels better.

My response…So what?

Sorry, that’s my take on everything I just said.  So fucking what.

The marketplace is cold and cruel.  Yes, there are hidden agendas.   Yes, there are mean spirited people who love to rip others to shreds.

Again, so what?

Raymond Chandler, when asked about the dead body in the trunk of a  car in his timeless classic THE BIG SLEEP, replied “Oh, I guess I forgot  about that.”

In Robinson Crusoe, Daniel Defoe has his hero take off all of his  clothes, swim out to the wreck, then immediately begin stuffing food  into his pockets.

Oops.

I was just reading a new thriller by a New York Times bestseller.   The hero of the book, who is supposed to be incredibly intelligent and  street-smart, was obviously being duped.  I had a basketball coach who  if he felt you telegraphed a pass would scream at you, “I saw that one  coming from Cincinnati!”  Well, I’m guessing every reader saw that plot  twist coming from Cincinnati.  I stopped reading the book.

Again.  So what?

If you want to write a book, write it.  Tell your story.  If you’ve  got the money, hire a reputable editor, proofreader, and ebook designer.

If you don’t have the money, do the best you can.

Just know that when you go out with your book, the headhunters will show up sooner or later, looking to crack your skull.

Do what I do.  Read their reviews.  Hear them out.  Honestly ask  yourself if they have a point.  Use the good feedback to make yourself a  better writer.  Do a better job with each book.

If their take on your book is as bloody as all 120 minutes of The Passion of the Christ, that’s okay, too.

What doesn’t kill you makes you stronger.

As both a person.

And a writer.

Hey, if you get kicked in the crotch seven times,  say “fuck you” eight times.

And then get back to work.

 

 

Publetariat Dispatch: Indie Author Discrimination

Publetariat: For People Who Publish!

In today’s Publetariat Dispatch, author Melissa Conway addresses the bias against self-published authors and books.

I thought I’d write about some of the issues that led to the creation of my popular video The Indie-Author Lament. By “popular,” I don’t mean viral or anything, I just mean it hit a nerve with a lot of self-published authors like myself – you know that nerve in your elbow when you bonk it that hurts like hell but makes you laugh helplessly like a loon? Yeah, that one.

From the feedback I got on the video, it’s pretty clear that just about every self-published author out there has a story similar to mine. I decided to write the song after two weeks of intensive marketing that left me feeling like a dog that couldn’t quite catch its tail. The video was never overtly intended as a marketing tool, even though I did have it in the back of my mind that almost anything that gets me attention can be used to direct people to my product. So in that respect, I accidently stumbled upon a unique marketing tool in itself. People have asked whether the song is true; it mostly is, but I exaggerated some parts to make it funnier – and to make a point. The song is a composite of what the average indie-author goes through.

For those of you who aren’t writers, you may be wondering what all the fuss is about.

There are two roads to getting a book published these days, the long road and the shortcut. A simplistic description of the long road is that it’s the traditional route where your book has to pass muster with first an agent and then an editor at a publishing house. The shortcut, referred to by its detractors as “vanity publishing” is where writers self-publish their manuscripts. Usually they attempted to take the traditional route, but roadblocks and detours prevented them from reaching their destination. So they chose to self-publish, which on the surface might appear to be a smart move to shave off time in their journey, but more often, like many promising shortcuts, leads them through alligator-infested swamps.

I know I’m pushing the metaphors, but in the war against bad books, agents have traditionally held the front line. They function as the roadblocks; well-armed with opinions on what the reading public wants, and they only allow a chosen few books to get past them. Those that do, must detour on to another set of roadblocks set up by the editor. In this way, books that eventually reach the public are supposed to be error-free and high-quality.

The books that don’t get past the agent are a mixed bag. Some are good, some are bad, some are very bad – but some are excellent, because agents aren’t perfect and sometimes they reject based on what’s hot in the market at the moment, etcetera. There’re a lot of subjective reasons why an excellent novel wouldn’t get traditionally published, but on the other hand, there’s no vetting system in place to prevent the very bad self-published books from stinking up the shelves. Anyone who wants to publish a book can do so, but the bad books erode public perception of indies as a whole. If someone reads a traditionally published author’s book and hates it, they aren’t likely to give that author’s next book a chance, but they probably won’t boycott the publisher. If someone reads a badly written or poorly edited self-published book, there’s a danger that they will lump all indie-authors into the same category and avoid them altogether.

The marketing advice most indie-authors are given is twofold: establish an internet presence in forums and on social networking sites, and solicit book bloggers to review their book. So whereas publishing houses can provide advertising and obtain reviews from professional book reviewers for their stable of authors, indie authors are on their own – and unfortunately, some do a piss poor job of promoting themselves.

In a certain subset of self-published authors, I’ll refer to them as the Spammers (because that’s what they are), there’s a decided lack of professionalism as far as marketing is concerned. Spammers are not subtle. They are the ones who tweet the link to their book every hour on the hour. They are the ones with seventeen links in their signature line. They dive-bomb forum threads, comment off-topic on blog posts and generally make a nuisance of themselves – and a bad name for indie authors in general.

While the forum and book blogger advice has worked in some cases really well for authors who didn’t abuse it in the past, there’s been a recent backlash. Some forum administrators purportedly fielded so many complaints about spam that they were forced to create separate groups within the forums, effectively segregating self-published authors – who can now spam each other to their hearts’ content – because you can bet readers won’t venture to the back of the bus. Amazon UK, in a move they have yet to explain to their customers, has just banned indie promotion on their forums altogether.

Major book review publications like the New York Times actually have policies in place that exclude self-published books. Whether this is a result of pressure from publishing conglomerates who advertise with them or an unwillingness to dedicate the manpower necessary to sift through the chaff: they won’t touch them. So indie-authors are forced to seek out alternative ways to get reviews, which are essential to sales. Indie-authors’ family, friends and peers often volunteer, but what they need most in order to avoid the appearance of dishonesty is unbiased opinions, and that’s where book bloggers come in.

The majority of book bloggers don’t accept self-published books, but those that do have unwittingly taken on the road-blocking role of agent. They get the exact same kind of queries agents do and perform the same basic function of filtering out poorly written or badly edited books. This is ironic to the author given that taking the shortcut to publication was supposed to bypass these sorts of roadblocks in the first place. Book bloggers have popped up everywhere and some have become extremely popular: they weather a steady deluge of requests from indie-authors. Many are backlogged several months or even years, so even if they agree to read your book, it won’t be any time soon. Many also have a policy of only posting reviews on books they liked. Some do that because they don’t like negativism, but in others it’s a defense mechanism to avoid confrontations with disgruntled authors. There have been cases of self-published authors engaging in very public and embarrassing flame-wars with reviewers.

So you can see how the aggressive, unrelenting actions of a few have severely curtailed the already limited marketing options of the many.

This anti-indie shift is understandable, but very very frustrating for most of us. My song was a spoof – it didn’t offer advice on how avoid these minefields because even though in general indie-authors stick together and support each other, at the end of the day, marketing is a very personal commitment. Each of us has to budget our time and resources as best we can and something that works for one won’t necessarily work for the other. But just because things look dire right now for indies doesn’t mean it will always be that way. Public opinion swings back and forth, and indie-authors themselves are scrambling to think up unique ways to market themselves and their books. The majority of us keep tight rein on our marketing efforts so we don’t humiliate ourselves or compromise our integrity. It’s not hopeless, just another challenge. Until someone comes up with a viable solution to the lack of a cost-free, unbiased vetting system for self-published books, the best defense is to have a solid product and to maintain decorum. And it looks like the best offense in today’s climate is to think up a unique, non-spam generating marketing platform to wow your potential audience.

This post, from indie author Melissa Conway, originally appeared on her Whimsilly blog and is reprinted here with her permission.

Publetariat Dispatch: Why Self-Published Authors Know Best

Publetariat: For People Who Publish!In today’s Publetariat Dispatch, indie author indie author M. Louisa Locke explains why and how indie authors are at the vanguard of publishing.

 

I ran across this quote today, from a post that historical romance novelist Courtney Milan wrote this week as an open letter to agents.

The traditional information storehouse has been inverted. Right now, the people who know the most about self-publishing are authors, and trust me, the vast majority of authors are aware of that. For the first time, authors are having questions about their careers, and their agents are not their go-to people.

While not having an agent, in fact having decided in the fall of 2009 not to look for an agent for my historical mystery, Maids of Misfortune, I can’t really speak to this group’s effectiveness in this new publishing climate. Neither do I want to go into whether or not I think that the decision on the part of some agents to begin to publish their authors’ work has ethical or conflict of interest ramifications. Although the latest brouhaha that just erupted when an agency threatened an author with legal action because she said they were setting up as a digital publisher, when they insisted they were just starting an “assisted self-publishing initiative,” suggests that this question is not going to go away.

What I want to address is Milan’s assertion that authors are the people who know the most about self-publishing. I not only agree, but I would take this one step further. I think that self-published authors may know the most about publishing, period, in this time of expanded ebook publishing and social media marketing.

Let me count just some of the ways:

1. Most self-published authors know about both legacy publishing and self-publishing, which gives them a uniquely broad perspective.

In my experience, most of self-published authors have already had fairly extensive experience with the legacy publishing industry (as traditionally published authors, as authors who have spent years trying to become traditionally published, and as friends of published authors). From this experience we are in a better position to make well-informed decisions about the costs and benefits of both paths to publication, and which path to choose for a given project.

For example, since we understand the lead time it takes to get a book published with a legacy publisher, versus a self-published book, we might choose self-publishing for a non-fiction book that is very time-sensitive, but willingly pursue a legacy publisher for a work of fiction that we feel would do best in print and distributed through brick and mortar stores.

2. Self-published authors were among the first to embrace ebook publishing as their main method of publishing, and therefore they have longer and greater experience in this realm, which is where the market is expanding the fastest.

For most of us the lack of capital meant learning how to format and upload ebooks ourselves, therefore we understand both the relative ease of this process and the importance of it. Even if we decide to pay someone else to do the formatting, our experience helps be better judges of the value of this service.

For example, we would be much less likely to be snookered into paying a high fee to an agent or anyone else for “taking care of” this for us. We understand that while most readers of ebooks are fairly tolerant of an occasional formatting error, they don’t like a lot of white space, including indents that are too large, blank pages, and unnecessary page breaks. We understand the cover design that works on a printed book sitting on a shelf doesn’t work on a thumbnail on the virtual bookshelves of an eretailer or a website, and we have had the chance to experiment to find the most effective covers for our books in this environment.

3. Self-published authors have up-to-date information about sales data, and they can and do share that information.

The turning point for me in making the decision to self-publishing came when I read Joe Konrath’s initial blog postings listing his ebook sales. I finally had the concrete numbers to determine what kind of sales I would need to pay for my capital outlay, and what kind of income I could make, compared to the advance I could expect going the traditional route.

Agents, publishers, even traditionally published authors, are very unwilling to ever talk about numbers, unless, of course, they are talking about a New York Times bestseller. The whole convoluted publishing industry accounting system, the lag in recording royalties (which go through the agent-I mean, what is up with that??), the fear that weak numbers are going to be the kiss of death for achieving the next contract, all work to keep a veil of secrecy. If you are an author this means you may never really understand how many books you sold, when and where you sold them, which covers worked, which price points worked, and which method of delivery got you the most profit.

Self-published authors working through such methods of delivery as CreateSpace for print or KDP or ePubit for ebooks not only have ready access to this sort of information, which is so crucial for designing effective market strategies, but we have no reason not to share this information. I can write that my sales have been lower this summer than in the winter, and not worry that this will hurt the chances that my next book will be published, or marketed aggressively, or reviewed positively. And I can learn from other authors if they are experiencing a similar pattern, and if so, what they are doing about it. This is one of the reasons we knew that ebook readership was going up, that certain price points worked better than others, that the Nook was beginning to claim a significant share of the market, before most of the traditional pundits did.

4. By necessity, self-published authors have had to rely on e-retailers, but this has made them savvy about how best to attract customers in this expanding retail environment.

For example, authors published through legacy publishers are often slow to understand how important it is to get your book into the right category on Amazon or Barnes and Noble. In my experience most traditionally published authors, and their agents and editors, don’t even know that categories had been chosen for their book, and, as with most aspects of publishing (the title, the cover design, the product description), the authors don’t have ultimate control over the final choices. Getting any changes made after publication (in a cover or category or price that doesn’t work) is also difficult.

5. Again by necessity, self-published authors have had to develop alterative methods of marketing—which have made them innovators in using social media for this purpose.

I am still amazed when I read comments by traditionally published authors on various sites saying that their books have just “been put up on Kindle,” and asking if anyone has a suggestion how to market those books. Obviously neither their agents or their editors have had much to say on the subject, beyond “set up a website.” Not surprisingly, it is self-published authors that seemed to give the most detailed advice in response to these queries. See Rob Walker’s huge thread on KDP community forum.

6. Self-published authors are going to continue to be the innovators in publishing, no matter what the future holds, and therefore the best source of information.

We have to be innovators, because we don’t rely on anyone else-not agent or editor-to ensure our books are out there and being read. Two years ago, when I researched self-publishing, Amazon’s Kindle and Smashwords, were the two major ways open to me to independently upload my book. Since then Barnes and Noble’s ePubit, Google Editions, Kobo and many other companies have made it possible for independent authors to publish on their sites. In addition, while the iPad’s ibook store has been slow to expand, more and more people are downloading books, often using the Kindle or other aps, not only to the iPad, but more often than not to the iPhone or other similar devices. Traditional publishers are forced to deal with each of these changes slowly, often with protracted negotiations, which slows their authors’ access to these venues. Self-published authors were able to respond immediately to these changes, as they will be able to do with what ever new twist the ebook or print on demand aspects of the industry takes.

Self-authors are intrinsically less conservative than people who work within the legacy publishing industry, where risks can ruin a career. An agent who takes on too many cutting edge writers and can’t sell their books, an editor whose choices don’t make back the authors advances, the author whose sales don’t pan out, all risk losing their business, their jobs, and their next contract. The motivation, therefore, is to choose authors and books that either fit this year’s trend (no matter that by the time the book comes out the trend may have peaked), or fit squarely into a niche market, and aren’t too long, or too short. Self-published authors have the choice to take risks, because they answer to no one but themselves and their readers.

7. Finally, I believe that most authors are going to become self-published authors, and therefore will remain the major source of information about self-publishing. Not because they are all going to leave legacy publishing, but because more and more authors are going to see self-publishing as one of their options over their career.

Practically every author I have ever known has an idea for a book or a manuscript squirreled away, or a short story or novella they have written, that they either had failed to sell to a legacy publisher, or simply never tried to write or sell, because they knew that this work wouldn’t be acceptable. These ideas, these works, now can see the light of day. The market may turn out to be small for any particular work, but if you have written something that pleases you, that you as a reader would like to read, and you can self-publish that work and watch as people buy it, review it, and email you about it, the satisfaction is enormous.

I spoke to a college journalism class this spring about the possibilities of self-publishing, and a young man came up to me afterwards, all enthusiastic, and he told me that I had given him hope. His father had tried to discourage him from pursuing a career as a writer, telling him it would be years and years, and maybe never, that his work would ever see print. I had just told him what he had written already, what he chose to write next month, could be out there being read in a few days time.

This is one of the reasons that agents or publishers who try to lock authors into exclusive clauses, or manipulate print on demand to keep hold of copyright, are simply going to drive even more of their authors into self-publishing. Once an author has been exposed to the liberating belief that all of their work can get in print, and all the work that is good, will get to be read, they will not go back to telling themselves that the gatekeepers were saving them from the awful mistake of publishing a bad book, and that the favorite quirky cross genre manuscript they wrote really is better off never being read by anyone.

Does this mean the end of agents or publishers? Of course not. But it does mean that those people in the traditional publishing industry who continue to hold self-published authors in contempt, who continue to try to argue that all authors and all published books should go through their doors to get to the reader, who fail to turn to their authors and their readers for advice, are going to find themselves losing out in the future.


This is a reprint from M. Louisa Locke‘s site.

Publetariat Dispatch: Why Self-Published Authors Know Best – Clone

Publetariat: For People Who Publish!In today’s Publetariat Dispatch, indie author indie author M. Louisa Locke explains why and how indie authors are at the vanguard of publishing.

 

I ran across this quote today, from a post that historical romance novelist Courtney Milan wrote this week as an open letter to agents.

The traditional information storehouse has been inverted. Right now, the people who know the most about self-publishing are authors, and trust me, the vast majority of authors are aware of that. For the first time, authors are having questions about their careers, and their agents are not their go-to people.

While not having an agent, in fact having decided in the fall of 2009 not to look for an agent for my historical mystery, Maids of Misfortune, I can’t really speak to this group’s effectiveness in this new publishing climate. Neither do I want to go into whether or not I think that the decision on the part of some agents to begin to publish their authors’ work has ethical or conflict of interest ramifications. Although the latest brouhaha that just erupted when an agency threatened an author with legal action because she said they were setting up as a digital publisher, when they insisted they were just starting an “assisted self-publishing initiative,” suggests that this question is not going to go away.

What I want to address is Milan’s assertion that authors are the people who know the most about self-publishing. I not only agree, but I would take this one step further. I think that self-published authors may know the most about publishing, period, in this time of expanded ebook publishing and social media marketing.

Let me count just some of the ways:

1. Most self-published authors know about both legacy publishing and self-publishing, which gives them a uniquely broad perspective.

In my experience, most of self-published authors have already had fairly extensive experience with the legacy publishing industry (as traditionally published authors, as authors who have spent years trying to become traditionally published, and as friends of published authors). From this experience we are in a better position to make well-informed decisions about the costs and benefits of both paths to publication, and which path to choose for a given project.

For example, since we understand the lead time it takes to get a book published with a legacy publisher, versus a self-published book, we might choose self-publishing for a non-fiction book that is very time-sensitive, but willingly pursue a legacy publisher for a work of fiction that we feel would do best in print and distributed through brick and mortar stores.

2. Self-published authors were among the first to embrace ebook publishing as their main method of publishing, and therefore they have longer and greater experience in this realm, which is where the market is expanding the fastest.

For most of us the lack of capital meant learning how to format and upload ebooks ourselves, therefore we understand both the relative ease of this process and the importance of it. Even if we decide to pay someone else to do the formatting, our experience helps be better judges of the value of this service.

For example, we would be much less likely to be snookered into paying a high fee to an agent or anyone else for “taking care of” this for us. We understand that while most readers of ebooks are fairly tolerant of an occasional formatting error, they don’t like a lot of white space, including indents that are too large, blank pages, and unnecessary page breaks. We understand the cover design that works on a printed book sitting on a shelf doesn’t work on a thumbnail on the virtual bookshelves of an eretailer or a website, and we have had the chance to experiment to find the most effective covers for our books in this environment.

3. Self-published authors have up-to-date information about sales data, and they can and do share that information.

The turning point for me in making the decision to self-publishing came when I read Joe Konrath’s initial blog postings listing his ebook sales. I finally had the concrete numbers to determine what kind of sales I would need to pay for my capital outlay, and what kind of income I could make, compared to the advance I could expect going the traditional route.

Agents, publishers, even traditionally published authors, are very unwilling to ever talk about numbers, unless, of course, they are talking about a New York Times bestseller. The whole convoluted publishing industry accounting system, the lag in recording royalties (which go through the agent-I mean, what is up with that??), the fear that weak numbers are going to be the kiss of death for achieving the next contract, all work to keep a veil of secrecy. If you are an author this means you may never really understand how many books you sold, when and where you sold them, which covers worked, which price points worked, and which method of delivery got you the most profit.

Self-published authors working through such methods of delivery as CreateSpace for print or KDP or ePubit for ebooks not only have ready access to this sort of information, which is so crucial for designing effective market strategies, but we have no reason not to share this information. I can write that my sales have been lower this summer than in the winter, and not worry that this will hurt the chances that my next book will be published, or marketed aggressively, or reviewed positively. And I can learn from other authors if they are experiencing a similar pattern, and if so, what they are doing about it. This is one of the reasons we knew that ebook readership was going up, that certain price points worked better than others, that the Nook was beginning to claim a significant share of the market, before most of the traditional pundits did.

4. By necessity, self-published authors have had to rely on e-retailers, but this has made them savvy about how best to attract customers in this expanding retail environment.

For example, authors published through legacy publishers are often slow to understand how important it is to get your book into the right category on Amazon or Barnes and Noble. In my experience most traditionally published authors, and their agents and editors, don’t even know that categories had been chosen for their book, and, as with most aspects of publishing (the title, the cover design, the product description), the authors don’t have ultimate control over the final choices. Getting any changes made after publication (in a cover or category or price that doesn’t work) is also difficult.

5. Again by necessity, self-published authors have had to develop alterative methods of marketing—which have made them innovators in using social media for this purpose.

I am still amazed when I read comments by traditionally published authors on various sites saying that their books have just “been put up on Kindle,” and asking if anyone has a suggestion how to market those books. Obviously neither their agents or their editors have had much to say on the subject, beyond “set up a website.” Not surprisingly, it is self-published authors that seemed to give the most detailed advice in response to these queries. See Rob Walker’s huge thread on KDP community forum.

6. Self-published authors are going to continue to be the innovators in publishing, no matter what the future holds, and therefore the best source of information.

We have to be innovators, because we don’t rely on anyone else-not agent or editor-to ensure our books are out there and being read. Two years ago, when I researched self-publishing, Amazon’s Kindle and Smashwords, were the two major ways open to me to independently upload my book. Since then Barnes and Noble’s ePubit, Google Editions, Kobo and many other companies have made it possible for independent authors to publish on their sites. In addition, while the iPad’s ibook store has been slow to expand, more and more people are downloading books, often using the Kindle or other aps, not only to the iPad, but more often than not to the iPhone or other similar devices. Traditional publishers are forced to deal with each of these changes slowly, often with protracted negotiations, which slows their authors’ access to these venues. Self-published authors were able to respond immediately to these changes, as they will be able to do with what ever new twist the ebook or print on demand aspects of the industry takes.

Self-authors are intrinsically less conservative than people who work within the legacy publishing industry, where risks can ruin a career. An agent who takes on too many cutting edge writers and can’t sell their books, an editor whose choices don’t make back the authors advances, the author whose sales don’t pan out, all risk losing their business, their jobs, and their next contract. The motivation, therefore, is to choose authors and books that either fit this year’s trend (no matter that by the time the book comes out the trend may have peaked), or fit squarely into a niche market, and aren’t too long, or too short. Self-published authors have the choice to take risks, because they answer to no one but themselves and their readers.

7. Finally, I believe that most authors are going to become self-published authors, and therefore will remain the major source of information about self-publishing. Not because they are all going to leave legacy publishing, but because more and more authors are going to see self-publishing as one of their options over their career.

Practically every author I have ever known has an idea for a book or a manuscript squirreled away, or a short story or novella they have written, that they either had failed to sell to a legacy publisher, or simply never tried to write or sell, because they knew that this work wouldn’t be acceptable. These ideas, these works, now can see the light of day. The market may turn out to be small for any particular work, but if you have written something that pleases you, that you as a reader would like to read, and you can self-publish that work and watch as people buy it, review it, and email you about it, the satisfaction is enormous.

I spoke to a college journalism class this spring about the possibilities of self-publishing, and a young man came up to me afterwards, all enthusiastic, and he told me that I had given him hope. His father had tried to discourage him from pursuing a career as a writer, telling him it would be years and years, and maybe never, that his work would ever see print. I had just told him what he had written already, what he chose to write next month, could be out there being read in a few days time.

This is one of the reasons that agents or publishers who try to lock authors into exclusive clauses, or manipulate print on demand to keep hold of copyright, are simply going to drive even more of their authors into self-publishing. Once an author has been exposed to the liberating belief that all of their work can get in print, and all the work that is good, will get to be read, they will not go back to telling themselves that the gatekeepers were saving them from the awful mistake of publishing a bad book, and that the favorite quirky cross genre manuscript they wrote really is better off never being read by anyone.

Does this mean the end of agents or publishers? Of course not. But it does mean that those people in the traditional publishing industry who continue to hold self-published authors in contempt, who continue to try to argue that all authors and all published books should go through their doors to get to the reader, who fail to turn to their authors and their readers for advice, are going to find themselves losing out in the future.


This is a reprint from M. Louisa Locke‘s site.