Category: writing

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.

FAQ: Take Joy, a review (sort of)

- Stacy

I think it appropriate that the book I will review today will be Jane  Yolen’s Take Joy, due to all the joy I’ve been taking in my new camera over the weekend. I’ve been finding the joy again in my photography that I’ve been delaying for so long because film has become such an encumbrance that I end up saving rolls of film for months–my latest batch included shots from San Diego Comic-Con last July, a trip I took last August, several rolls from my Christmas travels, as well as a variety of smaller events in the last six months–and by the time I get to see them again, the pictures have little meaning. I didn’t play with pictures as much as I used to when in photography classes because I don’t have the time to play in the darkroom making the exposure perfect (though how tempting it has been over the years to find a place I can build a darkroom, especially this last year because my uncle offered me his enlarger….).

Getting the digital camera, even in the first few days of use, has given me back that joy. I’m starting to remember the way I used to play with angles and ligh
ting and the strange subjects I used to seek out. I have done a little of that playing with my camera phone, but that’s more of a toy than a passion–when you’re dealing with a 2 MP camera, there’s only so much art you can create.

(I have a point, really I do.)

This is an important process to me, because I occasionally do a freelance article here and there, a wedding here and there, that kind of thing. I’m taking some pictures for our kickboxing teacher in a couple weeks to help him promote his new dojo. But I’d been feeling lately that I was losinig my chops. All my pictures ended up coming out the same–lots of flash burn, standard compositions, nothing out of the ordinary that gives you that wow factor. Competent, but not excellent. Even the pictures I posted in the last few days reflect those ways of seeing, though I love the salt shaker post because it’s something different, something new I tried after learning a few things about indoor lighting (the bane of my photographic existence).

So, what does this have to do with writing and with Jane Yolen’s book in particular?

The whole book is about that discovery process, giving writers permission to find that joy that I have been rediscovering in my photography. In the first chapter Yolen quotes Gene Fowler, “‘Writing is easy: All you do is sit staring at a blank sheet of paper until the drops of blood form on your forehead'” and immediately refutes him: “I suggest you learn to write not with blood and fear, but with joy.” She says to forget about publishing, because it’s out of your hands, and to focus on the joy of your craft–of writing a story well, of really digging in and living in the story.

A very good premise. I mean, after all, why write if you don’t find joy in it? I write. I think I’ve said it before here. I have a story, a retelling of a Scottish fairy tale, that I’ve been working on since my last year at BYU, in 2001. It’s gone through many renditions, and the most I’ve ever finished was a novellette for a folklore class in grad school. Then I threw out the entire setting and decided to change it all around, and have gotten all of 10,000 words written since then in the new setting.

Why haven’t I finished it? Because while it brings me joy to live in that story, it doesn’t bring me enough joy to make it worth my time to write every night after doing a very similar activity at work every day. I fully admit I may never be a published fiction writer (I am a published non-fiction freelance writer over and over, but that’s a different market), and that’s enough for me to find the little joys in the little bits of writing I do from time to time because publication isn’t important to me–what’s important to me is the story in my imagination.

And mostly because I find that same kind of joy in being an editor to far better books than I could probably write right now.

For those who don’t have that push-pull of using up that creative energy before you can set pen to paper (metaphorically speaking), Yolen’s book will have much fodder for the imagination.

Though I must say that the whole numinous “the mystery of fiction,” “the mystery of the writing process,” bleh. Don’t make it all mysterious, as if someone with a little talent and a lot of effort can’t figure it out. There’s nothing mysterious about the combination of putting in the time to do something you love so that you can develop the inborn talent you have into something better. It’s work, but if you find joy in it, it’s time well spent, in my opinion.

But that may just be my practical Midwestern upbringing coming into play. Doesn’t mean that there isn’t mystery in the art, and if that motivates you to seek joy in creating art, whatever your art is, more power to you.

Back to Take Joy–as you have probably already guessed, this isn’t so much a review as a disjointed essay borne from a few ideas I’ve plucked from its pages–Yolen says
that “These stories grace our actual lives with their fictional realities. Like angels they lift us above the hurrying world.” I really like that idea. I don’t know if I can recapture what it is that caught me about that particular passage, but I’ll try.

As I was driving home the other night a program on NPR caught my attention. It was a Romanian professor by the name of Kodrescu (spelling? who knows?) who was speaking about the power of memories, how we create memories that didn’t actually happen and turn them to pedagogical uses, how we change memory to fantasy because sometimes fantasy feels more real than the reality it is trying to reflect.

How to express this? That talk really said something to me the other night, but now it’s slipping from my mind, and I can barely even remember who the speaker was at this point.

At any rate, I think what I’m trying to say is that sometimes in fiction we find more truth than we do in the reality we’re seeking to interpret. I’ve said this before about fantasy, about its wonderful metaphorical magic. We can talk about struggles, the epic battle between good and evil, the shades of gray, the variety of human existence, in so many ways in fantasy that we can’t do as well in realism sometimes because of the power the metaphor gives us–the power that the fictional, the fantasy (meaning the numinous, the fantastic, as well as simply the fantasy of making up a story), give us to assign multiple meanings and to interpret and reinterpret.

That the stories can “grace our actual lives with their fictional realities” can mean so many things, and I’m losing the ability to express what I’m trying to say.

At any rate, the book is a good read, and I think nonwriters as well as writers can benefit from the idea of taking joy in the art you pursue–remembering why you do what you do.

Of course, writers will get even more out of it, because she’s got some solid advice for writers in there about taking rejection well, the elements of a good story (beyond a simple anecdote to a fully drawn drama), finding your voice, even a whole section dedicated to specific practical advice. I love the little interludes, the little bits of wisdom between chapters. One such, before chapter 5, is especially apropos for anyone who writes historical fiction, fantasy, or other genres that require lots of research:

For a writer, nothing is lost. Research once done can be used again and again, a kind of marvel of recycling. As writers we need to be shameless about thieving from ourselves.

For example, I did two books on the Shakers–a nonfiction book called Simple Gifts and a novel, %3
Cem>The Gift of Sarah Barker. And it is no coincidence that the round barn I discovered in my historical research, I then used as a piece of setting in the Sarah Barker book. It later found its way into my young adult science fiction novel, Dragon’s Blood.

Good research swims upstream where it can spawn. (p. 41)

So there you have it, as one of hopefully a lot of writing book recommendations here at Stacy Whitman’s Grimoire, couched in an essay on finding my photography chops again. Check out the book–you might find some gems that help you find joy in your own writing.

Buried treasure

- Stacy

My office at home is a mess. Well, actually, it looked great, but that’s because the boxes I have yet to unpack from moving to Seattle from Boston a year and a half ago are stacked so neatly. The boxes are filled with all sorts of goodies, like bills from Boston that I paid two years ago, the bouquet I carried at my sister’s wedding, and all sorts of odds and ends that I probably wouldn’t miss if I lost the entire box.

However.

It’s a good thing I take after my grandpa and never throw anything out. Because in going through two boxes, three file cabinet drawers, and several expandable folders in search of a particular project from grad school, I found some really cool stuff. Like my “scrapbox” from high school. I didn’t have a scrapbook, so I just threw everything into a box to scrapbook later when I grew up and could afford one. In this box was the buried treasure referenced above. I found:

  • My Galva High School Scholastic Team Study Notes, informing me of all-important information such as RALPH WALDO EMERSON – THE TRANSCENDENTALIST! and EMILY DICKINSON – “greatest Am. female poet!” who was the “spinster of Amhearst.” My coach really liked exclamation points and all-caps, and he also couldn’t spell well, apparently. I want to read it now and see if the greats we had to memorize are really the greats I learned about in college. For example, does anyone know who Bret Harte is? Apparently he was a “local colorist influenced Twain.”
  • A manila folder entitled in purple and red marker “Artwork & Writing Attempts.” I wish I had a digital camera, because I would show you my teenage handwriting, which makes me giggle because I used to think it was so elegant. Plus you’d be able to see the reason why it’s both purple and red. The original purple reads “Art & Writing,” but in a fit of self-consciousness at the quality of my work, I added “Attempts” at the end, and apparently thought that “Artwork” sounded better than “Art.”

What’s really fun about this folder is that it contains my entire junior and senior years’ English journals, rich with entries such as:

10-5-90

Felipe says I should write about him. So there, I wrote about him.

Okay, so now what should I write about?

In answer to your question, yes, I do date Tim. Tim and I have been going out for about a year and nine months now. We started dating my freshman year.

It was January 13, 1990, after the basketball game against Cambridge. I think we lost, but I don’t remember. It was semesters day, so my brain was fried (I thought). (Now that I’m older I know that freshman year tests are nothing compared to junior and probably senior year!) There was a social hour after the game. I went, and Tim went. We danced, and I asked if we were official. “Yep!”

[skipping…]

I do remember Mr. Bittle [a teacher who had died about a year previous in a drunk-driving accident–a teacher for whom I and my sister had babysat]. I had him for English I first hour. He was a really neat guy, and always late! I remember sitting in the halls waiting for him to get there. He’d come walking slowly down the hall, coffee cup always in hand. Usually he would just laugh at us for having to sit out there and wait. Once in a while, he’d tease us that we were late and that we’d have to go get a pass since we weren’t in our seats!

I then go on to talk about how I liked his replacement, Mr. Prusator, because he taught us grammar (something Mr. Bittle, love him dearly, ignored because he didn’t like it), and then ramble on about how I wanted to join a drum corps (which I did, the summer after my senior year in high school).

Fun! Not nearly so easily made fun of as my freshman year journal, for that same Mr. Bittle. I even have the journal entry that I wrote my poetry in which prompted Mrs. Kemp—the coolest English teacher I’ve ever had—to write “PLEASE SEE ME TODAY. IMPT.” on the entry, and that day she told me she wanted to enter my poetry in the NCTE English contest. I didn’t win anything, but it was so cool she thought I was good enough to enter, especially because I’d always considered myself an agriculture girl, despite my lack of interest in science. It was the duty of every good farm kid to save agriculture, you see, especially the Family Farm. But experiences like the entire two years I had Mrs. Kemp were the ones I looked back on with joy, which eventually helped me realize the career path I truly wanted to take. (It just took a few years for me to figure it out. See how I became an editor for more on that.)

  • Also in the folder: all of my senior year of high school English papers. I didn’t even remember reading Joseph Conrad’s short story “The Lagoon,” probably because I skimmed it to write the paper. Hence the 85% grade…
  • Also in the folder: all the papers I did for my Animal Science class, one of the first classes restored to my high school when the agriculture program was reinstated my junior year. The writing in papers on such subjects as porcine somatotropin and the blood of farm animals was looked on with a much less critical eye by my ag teacher. The papers received such comments as “Great! Well explained!” which I doubt I would have ever heard come out of Mrs. Kemp’s lips. 🙂
  • In the same box, I also found an article I discovered in grad school that I’ve been meaning to read since then but had lost. I found “Editing Books for Young People” by infamous children’s book editor Ursula Nordstrom while looking for something else, and it sounded intriguing but I was under a deadline, so I copied it and set it aside for another day. Finally, that day has arrived! I think I’ll make a separate post about specifics within it, though, because it’s a great article for children’s book editors, even written almost thirty years ago.

Hope you enjoyed my trip down memory lane. I sure did. It makes me want to go read all of the journal entries and see what I can mine out of them for a book.