Publishing: Conventional v. Indie (And a Cool Book Group!)
“Asking a writer about his work is like asking a cancer patient the status of his disease.”
– Jay McInerney
I’m kind of a snob. Not about clothes, or about money, but about weird things, like intelligence or whether you use bottled tomato gravy (that’s usually labeled “sauce”). And, until the past year or so, self-publishing.
When I worked at Barnes & Noble – which was not actually all that long ago – we didn’t carry self-published books. Period. Why? Because they were something called POD, which stood for “print on demand”, which meant we couldn’t return unsold copies. If a customer came in and wanted a self-published book, we’d only order as many copies as they would purchase in advance.
Back then, if you had read – or tried to read – a self-published book, you quickly realized many – MANY – of the self-published books suffered from arrogance. Arrogance that the writer didn’t need beta readers, or an editor, or (I swear) to re-read what they wrote before shipping it off. Self-published books, it seemed, were just crap: A shortcut for shitty writers to get “published”.
That was 2007. Today, the game has changed. My feelings about the self publishing industry have changed, in part because I wrote a travel narrative and have a publishing contract with (what I would have called) a “real” publisher a few years ago. Sound weird? Stay with me.
As excited as I am (which is over the moon excited), the realities of it are not quite what you might think. Publishing a book through conventional methods takes time. A LOT of time. As in, I submitted my manuscript proposal in July of 2013 and we’re still a good year away from something people can hold in their hands (or read on the iPads).
I don’t fault the process. I’m thrilled to have the editor I do, I’m fortunate to have others in my industry (Florida) read the book and offer pre-publication insight, and I am wholly and completely overwhelmed with gratitude that in a day when publishing houses grow more and more restrictive in who and what they published, one of them has chosen my words as something worth their investment.
Because make no mistake about it: I (or, rather, my book) is a commodity to my publisher. They’re gambling (much like the stock market or blackjack), and the gamble is that if they invest money in editing, publishing, and marketing my words, they’ll get back more money than they put in to the effort. Because I worked as a freelance writer for many years, I’m OK with this and I’m happy to make whatever concessions they ask to make sure they get a good return on their investment (because that means I get more money, too).
Nevertheless, I am about halfway through the rough drafts of three serial romance mystery books that I intend to self-publish. Why? Several reason. One, the book at my publisher is pretty unique, whereas romance/mystery is not exactly a barren playing field. I’m a realist; I have a better chance of getting that book in front of more eyeballs on Amazon than I do shopping it to agents and publishers and then – if I’m lucky enough to get a contract – competing for shelf space in bookstores. A Florida travel narrative will absolutely benefit from a conventional publishing house that specializes in Florida; romance novels about a mythical Florida town where murders sometimes happen? I believe they’re likely to do just as well – if not better – on Amazon.
It helps, too, that the rules of self-publishing have changed. Writers who want to make a career off their self-published (let’s call today’s process indie publishing to separate it from the horrors of 10 years ago) work use beta readers, hire editors, pay for cover designs, and generally treat their work like as much of an investment as conventional publishing houses do. That’s not to say the crap doesn’t still get published; it does, but thanks to Amazon’s review system, things like that get revealed as such in short order, and the good stuff stands a chance of getting noticed.
My friend and colleague Jon Kile is proof; he wrote and indie-published The Grandfather Clock, and he’s working on the sequel this summer. Next month book is fodder for a new book club that focuses only on Florida writers. It’s called “Critical Drinking” and it’s sponsored by Wordier Than Thou, a literary group that’s not nearly as “Literature with a capital ‘L'” as it sounds.
I’ll let Jon tell you more about that in his blog post. If you live in Pinellas or the Tampa Bay Area, please consider joining us for the book club. Until then, read this “amusing in way that makes me sad because it’s true” blog post about things you should never, ever ask writers.