Tag: self-publishing

Another post on self-publishing

- Stacy 1 Comment

Today the #followreader conversation on Twitter covers self-publishing, and I just wrote this post to the Utah Children’s Writers list in answer to a similar question, so I’m reproducing it here for a wider audience:

I think you could pretty much group everyone’s comments on what someone who self-publishes has to do under the umbrella of “you’re the publisher.” That means you take on ALL the roles that a publisher does, without the clout a mainstream publisher has. That means you’re no longer just the writer — all the pre-production and production issues are yours (editing, copyediting, proofreading, design, interior and cover artwork, administrative tasks like ISBNs (beware a vanity publisher who says they’ll get your ISBN — often they’re getting it in THEIR name, not yours, which causes problems in  reprints if you get that far), copyright registration, getting quotes from printers and other vendors, etc.), and then the marketing, PR, sales, and distribution are a major hurdle that you’re handling yourself as well. As many have already noted, you’re not going to get your book in most bookstores unless you have several books, and the quality of the book in presentation and editing are always going to be an issue.

That’s not to say that there aren’t some great self-published books out there — look at Schlock Mercenary and several other webcomic artists’ books. But they definitely fall in a niche — a niche for which they already had a built-in audience from the webcomic of tens of thousands of fans. If you don’t already have an audience in place, it’s definitely something you’ll have to consider, because building an audience for most books, at least fiction, tends to be easier through a mainstream publisher.

Again, that doesn’t mean it’s not possible, but it is definitely daunting. It’s daunting for me as I start my small press, because I’m taking on a lot of these roles myself, roles that when I worked with a larger publisher were delegated to other employees. I will have to use all these kinds of skills — skills tha t I’ve gained through working in a publisher —  and be very active on the selling end (going to shows, etc.) until we get at least five books out because no distributor will even look at a small press who isn’t a self-publisher until you have at least five titles out.

The stigma against self-publishing in the publishing world is simply that with all that up against the average self-publisher — and nowadays the average self-publisher *tends* to be the kind of person who insists they know publishing better than the experts, despite never having worked on either side of publishing as a writer or editor/other publishing staff — few people have the expertise to manage all those roles and come out with a well-written, well-edited, well-designed book that also sells well. Heck, it’s hard enough to do it when you’ve got a team of experts on your side.

Now, when I said “the average self-publisher” that often rules out anyone who’s doing their research, like networking through lists like this and so on. Already you’ve got more knowledge than the literally millions of self-publishers out there — most people who go to self-publishing honestly think that’s how a book gets published. I had an old roommate, who knew I was an editor, ask me how much it costs to get a book published by Random House — she honestly thought you had to pay to be published, and without more information, would probably have ended up going with a scam.

The reason why the number of books published every year is so large is because of all those self-published books. Few can stand out from a crowd in the sea of all those books. But the ones that do know how to capitalize on the skills everyone’s talking about here. And it can be a very good option for all the reasons Rick and several others have mentioned here. I know an author who just wanted a copy of the book to hand to her daughter at a certain age, so she decided to self-publish her picture book. For that goal, it succeeded. She hasn’t succeeded in selling out her print run, but the emotional reason was more important to her at that time, and she has other books she’s writing for the traditional publishing route. Certainly family and local histories have a limited, niche audience, and self-publishing can be a great boon for those kinds of stories. Self-help nonfiction, as someone mentioned here, can do very well in self-publishing because of all the opportunities to use your platform at conferences and such to sell the book, especially if you’re already an expert in your field. I’ve heard the same about real estate and finance kinds of books — again, those are authors with built-in audiences, so the books will probably sell themselves.

But the thing to remember as you consider self-publishing is whether you truly want to take on the roles of the entire staff of experts — or if you don’t want to do it yourself, if you want to enlist the help of independent experts (there are a lot of freelance editors out there who would be glad to help, but as Rick said, good help doesn’t come cheap — I myself charge $50 an  hour for a developmental edit of a full manuscript) or if you have family members with these skills. It’s definitely possible, but it’s a whole lot easier to have a team of experts who are paying *you* to work on your book.

Keep in mind that the Eragons of the world are literally one in a million. There are a million books out there, wanting the limited attention span of the audience you’re trying to reach. It’s definitely wise to consider whether you can and want to take on all the roles necessary to really capture that attention. If you do, go for it. If you don’t, keep going for a regular publisher, working on getting your polished book into the right hands at the right time — and they’ll have that team of experts ready to go at the right time.

Sorry if this appears pessimistic. I may have been the editor at last year’s WIFYR that someone said told them that “all” self-published books are bad. If it was me, I believe I was misquoted. As I said above, *many*–not all, but MANY–self-published books tend to be of a low quality simply because the author doing the publisher is a *writer*–not any of the other roles that you have to fill to publish a book. There’s nothing wrong with that. But it’s always best to consider these things and consider how they’ll affect the end product of your book.

Guest interview: Sandra Tayler on self-publishing

- Stacy

From time to time on this blog, we’ve discussed self-publishing, and from those posts you would probably know that in general I’m against it, if you’re looking to make a living as a writer. The Eragons are far outweighed by the thousands of books every year that don’t break even, I’ve argued. But I also pointed out that there are the exceptions, especially when it comes to family histories and books that already have a built-in audience. Books with local appeal also tend to fall into this category (local histories, etc.).

One of my friends, , is one of those exceptions. She knows publishing and knew that in general it’s better to go with a traditional publisher, but she wrote Hold on to Your Horses for her daughter and wanted it to be published before that daughter grew older than the picture book audience. Other factors influenced her decision, too, such as the successful family business surrounding her husband’s webcomic, Schlock Mercenary. I asked Sandra to give us her perspective on self-publishing, and here we have her answer. Notice that her answers are both personal and very business-oriented—she’s running a small publishing company, after all!—so there’s a lot to consider:

Why did you decide to self publish? What factors did you consider before going the self-publishing route?

My husband and I decided to self publish the Schlock Mercenary books because he already had a large audience. He was regularly getting emails asking for books, but we could not find a publisher to touch the project because printed collections of comic strips, available for free on the web, were too far outside their experience. We did the math on producing the books ourselves and realized that if it worked, we could keep paying our bills. If it didn’t, Howard would have to give up cartooning for another day job. We were very fortunate because there were enough people waiting to buy the books.

My book, Hold on to Your Horses, was made possible by that earlier decision to self publish the Schlock Mercenary books. It was a story that I knew my child needed and I realized that I had the means to bring it into existence. After seeing Angela Call’s amazing pictures, I did make a couple of attempts to interest publishing houses and agents. After a couple of rejections, Angela and I agreed that it was more important that the book exist as soon as possible than that it find a home with a national publisher. We knew that making that decision might mean that the book would never have wide distribution or availability. We decided to accept that risk.

What roles did you take on besides writer in the self-publishing process?

For Hold onto your Horses I did just about everything except "Artist." I functioned as an art director when I auditioned artists to take on the project. I did all the layout and page design, which caused me many tears and grief because I was trying to learn it all as I went. I can’t count the number of times it felt like I’d ruined everything. Fortunately I have a fantastic support team to rescue me. Howard was immensely helpful with image editing, as was Angela’s husband, Bill. Our printer identified some file errors to be corrected. I had to depend up on friends and associ
ates for the copy editing on the book, because I’d stared at it too much to see mistakes anymore. Once the books arrived, I had to act as warehouse manager and distributor. All the books are stored and shipped by us. I’m also the marketing director. I have to research ways to get the word out about this book because people can not just find it in bookstores. This means that I have to reach out and contact strangers over and over again. It always feels a little like begging "Please look at my book. Isn’t it pretty? Don’t you want to tell everyone about it?" The marketing feels never ending, but if I stop doing it, the book will stop selling.

I fill many of the same roles for the Schlock books, but Howard does all the writing and drawing and most of the marketing.

You had to find your own illustrator. How did you do that?

This was the part of the project where having a husband with a large daily readership was very handy. I’d posted on my blog about needing an artist and got no response. This was disappointing, but not surprising since I’d been very clear that the project might never make a profit. Howard posted it on his blog and 30 people emailed me. Only 13 actually followed through to submit an audition. That was actually the first part of the test, I needed to know if the artist could produce on a deadline. I then had to choose from the submissions. It was very hard because I really enjoyed many of the interactions I had with the various artists. I kept finding myself thinking "I hope I get to work with this one." There were many talented artists who offered their work for the project. It was hard to have to tell them no. In the end Angela’s work was stylistically best suited to the project and I’m thrilled with the pictures she produced.

How did you decide on a printer?

We’ve used two different printers for the Schlock books, both in China. The first printer was recommended to us by a friend. Their work was good, but there were a couple of small quality control issues. The printer we currently use approached Howard at a convention. We were impressed by the professionalism and quality of the work he showed to us. We’ve never regretted switching.

The original plan for Hold on to Your Horses was to use a Print on Demand publisher. Primarily I wanted the book to exist for my child. But when I saw the beautiful art that Angela created
, I knew two things; I had something really salable and that Angela deserved to get paid more money than a small POD project would provide. The advantage to POD is the small out of pocket expense. The disadvantage is lower profit per book sold. Howard and decided to take the financial risk of paying for a printing to increase the profit per book sold. This allows us to pay Angela for every book that sells whether or not the project as a whole breaks even. Hold on to Your Horses has been available for 4 months now and we’re about halfway to the break-even point.

What challenges did you run into?

One of the first challenges we faced was the question of where to put all the books. We do the Schlock books in runs of 5000 and we printed 2000 Hold on to Your Horses. We pre-sold about 1000 of each Schlock book, but that still leaves 4000 to store. Multiply that by 4 titles and it takes up a lot of space. We are fortunate that our house has an unfinished basement room that became our warehouse. By the time we printed the third book, we shifted most of the inventory over into a rented storage unit and the basement has become a shipping center. Another basement room has become my office, a third room has become Howard’s office. About a third of our house is dedicated to business tasks.

Shipping was another challenge we had to tackle. We open up pre-orders on books about a month before we expect to receive them. This means that I have to manage, track, then ship over 1000 orders. I write in detail about that starting here.

Trying to get our books available in stores is something that we are still working on. They’re all carried at Amazon.com, but none of the big chains have them. We’ve got consignment deals with some independent stores, but each of those deals has to be worked out individually which takes a lot of time and effort. We’ve submitted to comic distributors and national distributors, but they turned us down because they claim our books won’t sell quickly enough.

In order to make our books available, we had to set up and maintain an online store. Researching and setting it up took significant amounts of effort and time. It is also a continual expense because there are monthly fees associated with the store and with credit card processing. Fortunately we make enough to cover these expenses and the expense
of renting a storage unit.

Now that the book is out, what would you have done differently? What do you feel were your successes?

I wish I could have skipped the times when stress about book production and sales spilled over into all other aspects of my life. But I’m not sure I could have done anything differently. The truth is that I had several learning curves to hike and that process is inherently stressful. The successes are when we get an email or a comment that says, "Thank you for this book, it really helped me." We’ve gotten some of those for both the Schlock books and Hold on to Your Horses. We’re almost to the success point where we can say that we’ve sold 10,000 books. (It exhausts me to realize that I’ve supervised the shipping of that many books.) The biggest success is continuing to be able to pay all the bills. It has been a near thing more than once.

Your husband is a successful webcomic cartoonist who has published several compilation books. How do your audience and his overlap? What kinds of appearances have you both done separately and together?

There is some overlap between Howard’s audience and mine, but not very much. His audience is primarily college-age male, while Hold on to Your Horses appeals primaril
y to parents and young children. This has forced me to strike out in different directions trying to promote my book. It has actually been good because it may open up some promotional opportunities for the Schlock books as well. Howard does much of his promoting at science fiction conventions. He’s often invited as a guest of the convention. I’ve gone with him several times and that is very enjoyable. It is fun to work a table together and meet all the people who come by. It is also fun to be presenters on panels where we talk about the kinds of things that we do. In the future we’ll try to branch out into selling at book fairs and hopefully we’ll be able to arrange bookstore signings as well. But for the next year we’re scaling back on event attendance so that we can concentrate on producing more books. There just aren’t enough hours in each day to get it all done.

What is your writing schedule? How do you balance your writing with your roles as mom of four kids and jane-of-all-trades for your husband’s business?

It is kind of funny that this question comes at the end of the interview because in my life things are the other way around. I do all the mommy and house things first. Then come the business things which help pay our bills. If any time is left, then I work on my writing projects. For the past year there hasn’t been much time left over. I’m willing to let the writing lay idle for awhile because I can see that there will be more space for it in the future, particularly now that Howard has cut back on his convention attendance. The thing I have to remember is that being a writer is not my only dream. All of these things are part of my dreams. For now I do most of my writing on my blog, but occasionally I get the chance to write short fiction and I post some of it on my website.

How do people find your book? Can they read a sample online?

Both Hold on to Your Horses and the Schlock Mercenary books are available through Amazon.com and our online store. A free pdf of Hold on to Your Horses can be found at http://www.holdontoyourhorsescom. Schlock Mercenary can be read at http://www.schlockmercenary.com.

Would you recommend self-publishing to anyone else?

I think that the publishing path you choose should reflect your long term goals. If you want your books on the shelves at Barnes & Noble, reviewed nationally, or to make bestseller lists, then your best option is working with a traditional publishing house. If you already have a large audience, then self-publishing is a very viable option, but choose carefully how to proceed. POD may be a better choice if you don’t want to warehouse and ship books. If you want to build a career as a professional writer, you’re probably better off with a traditional publishing house. If you have a project that you just want to exist, but don’t care if it ever makes a profit, self publishing is a great option. If you want your work read by lots of people, you’re probably better off with a traditional publishing house who will help you promote your work.

There are times I wish we could have a deal with a traditional publishing house. So much of my time is taken up with non-writing tasks. It would be nice to have a team to take care of it rather than carrying the load myself.

Thank
you, Sandra! If anyone else has any questions for Sandra, feel free to ask them here or over on her blog, .

On self publishing vs. trade publishing

- Stacy

I’ve had conversations with a few friends outside the publishing industry lately who tell me that they think self publishing is the way to go for their fiction. They’ve got a lot of reasons for it, but the one that stands out is that they think they can make more money by self-publishing, because writers make so little per book that unless you’re a hit, publishers don’t pay any attention to you and you’d be better off hiring a PR firm to market your book.

There are so many things I’d like to dispute in this thinking about the industry, not least of which that you only get PR attention if your book is already big (not true). While self publishing can be quite successful for very particular purposes–for example, independent comic artists tend to do better by self publishing (see my friend Howard at Schlock Mercenary for a great example)–and it can definitely serve writers who only have a limited audience in mind–as a family historian, I can tell you I’m looking forward to using LuLu or a similar service for several personal projects for which the only audience would be my family, and I know one friend who wrote a picturebook for her daughter and wanted to have it published in time for the daughter to be able to enjoy it, and felt that any other sales she might get would be a bonus–in general, for fiction, self-publishing is a sure way to ensure you spend a lot of money and that few people will ever see your book.

If you’re okay with that and have money to spare, go for it. But if you want your book to sell to a wide audience, especially if you’d like to make a living at your writing, self-publishing is definitely not the way to go, even if you know someone at a PR firm who would do some google-bombing and social networking for you. There are some very few exceptions—very few. Out of the several thousand self-published books every year, about 5, tops, break out enough to actually make a profit for the writer and/or get picked up by a trade publisher, and few more are actually well-written*. That’s not really very good odds, especially if the author is paying out of pocket for the PR and marketing.

Let’s break it down and talk about why this is. I’m pretty sure the majority of my readers will have heard this kind of thing before, especially if they frequent blogs like Writer Beware. But let’s assume a lack of basic knowledge of publishing for this post, because that’s where these friends, most of whom fall into the ‘would like to write someday” category, are coming from.

What’s in it for me?

Such prospective writers might think that a publisher is just plain greedy and is hogging all the money to themselves. Why not just get a bigger piece of the pie by publishing the book themselves—then even if it’s just a little bit more money, they’d still be making a better margin than the small percentage an author makes in a deal with a publishing house.

But there’s a lot of behind-the-scenes work that goes on at a publisher that a writer might not be aware of until he or she starts talking to people already in the industry, going to conventions and conferences, and just in general learning what it takes to get that lovely story from manuscript to beautiful, hardcover or paperback, finished book on a bookstore shelf.

What a good publisher contributes so that you don’t have to

While I agree that what most authors make per book can be harsh, that’s the reality of the book business. Most publishers don’t make that much, either–overhead of editors, art directors, and designers (and don’t discount the importance of a good editor, let alone somebody to make the book actually look good) takes up a small chunk, and then there’s the illustrator or photographer for the cover, and then there’s the overhead of production staff (typesetters, prepress staff), and then there’s the cost of printing the book–the price of which goes up all the time, due to the cost of freight, paper, etc.–and that all depends on the length of the run. Smaller runs (for example, self-published runs, which rarely go higher than 2000 books) are usually exorbitant because the cost per unit is smaller with increasing volume.

And don’t underestimate the contribution of a talented editor and design/art team to making your book more marketable and enjoyable. (Don’t get me started on the so-called “editing” of a vanity press. And the horror that is the covers and interior design of most self-published books… *shudder*) Few authors are able to bring forth a manuscript that needs no editing whatsoever—writing groups can be helpful, but the partnership with an editor who knows the particular market is an entirely different thing. It is an editor’s job to take that manuscript and shape it, mold it into the best story you have ever told. We’ve been trained in education and job experience to know what the market needs and to help you perfect your style and all those other things that a second pair of eyes can do. The different perspective of a like-minded professional makes such a difference, and it’s one that pretty much no self-published book I’ve ever seen benefits from.

Young readers especially are not even going to bother to pick up a book if it’s not packaged well. That means quality binding, beautiful artwork, nice finishes on the paper, clean and beautiful interior design, perhaps interior artwork. Who will illustrate your cover for you? Who will buy the fonts and design them? Do you really have either the money to hire an illustrator or photographer and know how to negotiate a contract for that, or the ability to illustrate or photograph and design your own cover? Do you own InDesign or QuarkXpress and can you make your book look as beautiful as the books on the shelves of the bookstores?

We’re living in a golden age of children’s and YA literature, and if a book’s cover doesn’t measure up, few kids will pick it up to know whether it’s worth reading or not.

So here’s our list so far:

  • editor
  • copyeditor
  • proofreader
  • illustrator (dust jacket, interior art)
  • designer/typesetters
  • art director
  • prepress staff (prepare book for printer, get quotes from printer, and other business-related liaising with printer)

Add to that other behind-the-scenes staff that you might not think of right away. How do you get a book listed in the Library of Congress? Most publishers have someone who submits the book for cataloging in publishing data. Did you know that the Library of Congress will not catalog self-published books?

And what about legal protection? If you self-publish, you will be the one legally responsible for what’s in your book. The legal team at a publisher usually reviews books as they head out to press to be sure that copyright and other legal information is correct, that contracts are in order, and all sorts of things that I can’t even begin to list because even I don’t know them all—but I do know that our legal team is always working hard and helping to make sure that all the legal details are considered. A contract between the author and publisher affords the author some legal protections—not a lack of responsibility, obviously, but it’s a partnership.

So we can add to the list:

  • legal/contracts
  • Library of Congress

But wait! There’s more!

Just the fact that the book can get printed by a printer who has access to higher-end paper, cover paper with nice glosses and varnishes and foil—these are things that few who self-publish could afford. When it’s right for a book, a trade publisher is more able to fit these kinds of things into the budget (not always of course—there are always sacrifices that have to be made—but it’s definitely more in the realm of possibility).

  • better printing

The publisher’s connections

Now let’s take this book out of the printer and off to the market—to the influencers. While the marketing and PR budgets for a publisher vary greatly depending on the book, they’ve got the force of a whole catalog list behind them, not to mention the publisher name, sales force contacts with each and every bookstore in the nation, especially the ability to get it into the chains, which have one buyer they have to convince for a whole network of bookstores.

If you’re self-publishing, it’s pretty rare to get your book into a bookstore unless you have connections at a local independent, and getting a self-published book into the chains is nigh on impossible unless you’re Christopher Paolini or one of the other five breakouts I referred to above. Few bookstore buyers want to deal with self-published books because they don’t give a discount like the big publishers will and won’t take returns.

That doesn’t even get into the review side of things, which are tough all over, too. Google-bombing and social network sites only do so much–you have to have a quality site to link to, which requires money to build, and you have to have people running that site with content. Perhaps this is where a PR firm might come in handy, but from my experience, you’d rather have your PR firm getting you in local media, getting interviews with your local radio stations and with bloggers in your field, getting press releases out to widely-read news outlets, and most importantly, getting your book the attention of the trade press such as PW or Kirkus, in either reviews or articles (as it applies). Few reviewers will review self-published books—and that includes bloggers with any kind of influence. Your PR is the way you reach booksellers, librarians, teachers, parents–all those gatekeepers that are between the publisher and the book. A good PR firm knows what influences each of these parties in their different ways, because each has particular needs and agendas.

  • marketing team
  • sales team
  • PR team

Granted, a lot of this kind of publicity is harder to get for a midlist author nowadays, but authors who are willing to work with their trade publishers at publicity will find that they don’t have to do it all. Authors need to get involved in the publicity of their books through reaching out to their community—school visits, library activities, local bookstore signings, throwing a launch party, talking to your local paper, etc. (I’ll have to do a post on author promotional tools sometime!)—and should be willing to attend conventions and conferences. This kind of grassroots publicity will then be a support to whatever marketing and publicity a publisher is able to give, and the author doesn’t end up having to do her job plus the job of a whole team of professionals. They can work in concert with each other, supporting each other’s efforts.

The market

One argument I’ve heard is that an author might be more successful in a niche market with a targeted web site than having a bookstore presence. While this may be true if you already have a built-in following (see my webcomic example), for most authors if you’re not already a household name to at least several thousand, if not tens of thousands, of people, then it’s a pretty hard sell.

Few people buy fiction through websites other than the standard bookselling ones. From what I understand, Amazon itself only accounts for 5% of the bookselling market. Those booklovers who do buy from Amazon tend to buy in large quantities, but those quantities usually consist of books they’ve looked at in a brick and mortar store or the library, and/or read reviews of in reputable review outlets. And as we already discussed, it’s very, very hard to get a self-published book reviewed by a reputable outlet. With something in the neighborhood of 2000-5000 children’s books published by publishing companies every year (I’m not sure of the exact number, as it fluctuates), it’s hard enough to get those reviewed, let alone the self-published books. Many reviewers won’t even review original paperbacks but even if they do, they often draw the line at self-published works.

Beware scam artists

If none of this daunts you and you’re thinking of self publishing, then you need to be extra cautious. Check out Preditors and Editors, Writer Beware, and the Writer Beware blog to ensure you’re not sucked into a scam vanity publisher.

What it costs

All of this costs money, capital that most authors don’t (and shouldn’t have to) possess. That is the strength of a traditional publisher

Have you ever seen a P&L for a publisher? That’s mostly a rhetorical question, since most are proprietary. What it comes down to is this: given the cost of all those services I listed above, and add in the author’s royalty, compare that to the list price, expected sales, and however many returns and discounts a publisher might be giving to a bookseller, and what you come out with are margins that are *extremely* low.

None of us are in it for the money, and there are definite market advantages to what a real publisher offers.

*And believe me, I see a lot of the other kind in my slush pile. (DO NOT think that self-publishing will get you the attention of a real publisher. In fact, it will ensure that book will never see the light of day from a regular publisher in most cases except for the very rare exceptions.)

Also, one reader asks:

No doubt you don’t need anyone to tell you this, but I wish SP folks realized that the places to advertise their book are not 1) editors–since if it’s already published they don’t need an editor (see Editorial Anonymous), 2) agents, since you can’t rep a book that’s already been published, and 3) boards for writers to discuss craft and traditional publishing. SP is not for me, but maybe a few pointers on where it IS appropriate to plaster your ads would be helpful to those who want to do it?

This is a very good question. Anyone want to tackle this in the comments? I’d say stay out of my inbox, stay off my Myspace, and please don’t market to me as an editor, period. I don’t want to see previously published stuff in my slush pile because I can’t publish previously published work.

I do think that especially if you’re writing science fiction and fantasy, you should be going to as many fan conventions as possible to market to actual readers. Sometimes school visits work. I know that Eragon did so well because his family packed up a van and traveled across the country selling it–I don’t know where. Was it at flea markets? Something like that–someone correct me, as I don’t have time to google it. Whatever it was, they did a great job and it ended up being successful for them. But just know that it’s going to be a big, uphill battle if you go the self-publishing route, and that when you act as your own publisher, you’re going to have to fill all the roles of the people I listed above, or hire them out yourself. That’s a lot to juggle, and for most people, they’d rather just be in charge of their writing, period. They’re willing to do the self promotion because it’s a necessary evil in this market–and because it connects them with readers.