Doubts Erased: A Publishing Rant
I was going to start blogging about tropes and clichés and archetypes today, but I read a blog post last night that irritated the crap out of me and I have to rant. And it really is a rant, too. I’m just letting you know up front. You all can just sit back and enjoy the fireworks.
I have tremendous respect for Rachelle Gardner. She seems to treat her clients and others with dignity, and I have never heard anyone say a bad thing about her. I like her blog, and I think she gives good advice. When I tweeted about her blog last night, she even replied to me, and it was a gracious and understanding reply. If I wanted an agent, I’d want one like Ms. Gardner–an advocate. (Bummer she doesn’t rep fantasy.)
Yesterday, she was brave enough to post a publishing horror story.
Here’s the skinny: Ms. Gardner’s client “Allison” has a book contract with a publisher. That’s all we know of the particulars. Publisher insists on changing the title, even though the author hates the new title. Author and Ms. Gardner come up with alternatives to the publisher’s version. Publisher insists on sticking with its decision.
Publisher then sends cover art, and it’s horrid. Agent and author ask for revisions. Two come back. One is worse, the other is passable with a few changes. They suggest changes. Publisher says they’ll try, but are already behind schedule and over budget.
Here’s the part that tipped me over the boiling point: Editor at said publisher THEN sends e-mail that NOW–and ONLY now–will editor start reading the manuscript.
Forgive me, seriously, but what the fff—heck (insert stronger word choice here, as I would if I were the author in this horror story)?
I’ve already decided to self-publish, and so far, it’s been a great decision. I grant that I’m just getting started, but Silver Thaw is getting very good reviews and feedback. I look at it as building a business. I’ve done that before; I’ll do it again with self-publishing.
Here’s the thing: If I hadn’t decided for sure, this would be the horror story that would push me to the indie side of the fence.
It’s not the title change, per se. It’s not the bad cover design, really. It’s the fact that those choices and decisions were made unilaterally, without allowing for input from the author or agent, and–here’s the kicker–BEFORE THE EDITOR EVEN READ THE MANUSCRIPT.
It’s easy to armchair quarterback a decision like this and say the author should have walked, but we don’t know what the author’s real goals, motives, and needs are. For me, I can promise you that if someone tried to make changes like that to Ravenmarked, I would not hesitate to break a contract. Even if I had to pay back an advance and agree to never publish that particular work again, I would not hesitate to walk away from that contract.
“But what if it was a lot of money?” Really? You think there was a lot of money on a first book deal? We don’t know, but just guessing from what’s going on in the publishing world these days, I think it’s a safe bet to say there probably wasn’t. And after you pay the agent’s fee and take it in three installments and still have to sell a book you don’t love anymore, would it be enough? I doubt it.
“But it was a PUBLISHING contract! It was validation! After all that hard work, someone bought your book!” Yeah, no. That doesn’t do it for me. For me, validation comes from sales, readers, and good reviews–not from imprints. So far, Silver Thaw is getting great reviews. I can only hope the same for Ravenmarked, but beta readers have been very complimentary and my writing is fairly consistent, I think. It may take time to build an audience, but I got time. What I don’t have is patience for publishing morons who treat authors like crap.
There are so many things that piss me off about this story. Here are just three (in no particular order):
- In regard to future contracts, Ms. Gardner tells her authors, effectively, “good luck with that.” This is not an indictment of Ms. Gardner. She says, “There are just so many things in publishing that agents and authors can’t control.” Know what? I can control my title, my cover, my editing process, and my publishing schedule, at least to some degree. I refuse to have those decisions made unilaterally by someone who “knows better.” I’ll make my decisions, for good or ill, and live with them, learn from them, and move on.
- In regard to the way the author was treated, this is the kind of treatment that would not go unnoticed or unpunished in any other profession. Authoring is a profession. Don’t believe me? Go write a book. Go on. I dare you. And then see Chuck Wendig’s blog as to why you won’t finish your manuscript. Authoring is a pain in the ass. I’m doing something that 95% of the population can’t or won’t do. Don’t treat me like an imbecile. Would you treat your doctor that way? An attorney? A teacher? Your mechanic? Your plumber? No, and if you would, you’re an idiot. (Caveat: Some authors *DO* need help with titles and such, but I honestly think most authors are open to suggestion, brainstorming, editing, etc. when they are *INCLUDED* in the process and treated with respect. This author wasn’t.)
- In regard to the attitude of “we’re hoping the release of the book will make it all worth it”…. I just have to say, for me, it wouldn’t. I’d rather my work die in a drawer than be treated with such disrespect. No, seriously. Test me on it. Treat me like shit and decimate my work, and then watch me walk. But don’t pat me on the head, Mr. Publisher, and tell me you know best because now I’m VALIDATED and I get to see my name in print. I can do that at Kinko’s, BTW, and at this point, I get more respect from a notary public than I do from you.
Here’s what Ms. Gardner’s post did for me: It completely–COMPLETELY–erased all my doubts about self-publishing and going indie. Her post combined with Natalie Whipple’s recent post pretty much clarified for me that there is no way I want anything to do with traditional publishing. (Here’s my response to that post.) (And, Ms. Whipple answered folks who suggested she self-publish, by the way.)
Those are just two horror stories that come to mind immediately. What about the ones I don’t know about? What about the ones I’ve forgotten?
The lustre of traditional publishing has worn off completely. The indie slush pile doesn’t scare me nearly as much as the treatment of authors in the traditional publishing world. Authors are expected to bow and scrape in front of the kings and queens of publishing in the name of a contract and validation, and the kings and queens can control an author’s fate by fiat and edict. Agents–even the good ones like Gardner–are caught in the middle trying to advocate for their clients and at the same time tell their clients “good luck with that.”
I’m sorry, publishing industry, but I won’t be beholden or tied to anyone that way. And maybe these are just a couple of rare horror stories, but I don’t want to risk being the author in either story. What scares the piss out of me is the idea that I could do EVERYTHING “RIGHT” and still be treated like shit. If a client treated me this way on a freelance commercial project, I would never work for that client again, and depending on where I was on the project in question, I might very well drop the project, too. There’s no contract in the word worth being treated like a non-entity.
Am I burning bridges? Maybe. That’s just fine with me. Because you know what? I’m good. Yeah, there, I said it. Call me delusional if you must, but I’m good. I know how to put a story together, and I’m going to keep doing it, and I don’t need New York to validate me.
So there you go. I’m joining J. A. Konrath in saying you should self-publish. Maybe it’s not for everyone, but neither is being treated like crap. If indie publishing needs another cheerleader, it just got one.
Rant over.
Wow!
Great rant! I read that post yesterday and turned to wife to say, “What side is Rachelle on? Doesn’t she see that this is going to have the opposite effect on people?”
Meaning, the majority of her blog readers are traditional publishing bound and all she’s going to do is scare them a little more. As a literary agent, I would never blog the horror stories that are anomalies. Sure I would offer a sense of the industry and what newbies need to know, but not the rare horror story.
Anyway, it doesn’t matter to me because I decided back in September to go indie and I’m seriously happier every day as my book sales are in the hundred per month. In the last 8 weeks I finally got my backlist of eleven titles up and available. Sales are better every month, every week.
Thanks for a great rant and keep the fight going. I love that you’re an indie cheerleader.
Good luck and may you see massive sales…
Daryl Sedore
Thanks, Daryl!
I thought along the same lines in regard to Ms. Gardner posting that story…Especially given the buzz around all the indie heroes like Konrath, Hocking, etc. I wondered, “is she trying to cut down on her submissions?”
But the thing is, reading the comments on the post reassured me that agents will have no lack of submissions in the future. The writers who responded for the most part were sympathetic to the author, but completely willing to accept that “this is just the way it’s done.”
Screw that.
I understand that this is a supposedly rare horror story, but even the way it’s usually done sucks. I’m opting out.
Glad to hear your books are doing so well! It’s a slower start for me as I don’t have a backlist to polish and upload, but I have big plans this year–starting with “Ravenmarked” going live on February 1! Thanks for the good wishes–I wish you continued success as well!
Nearly all publishing agreements specify that the publisher has final say on the book’s title and cover. In my nearly 25 years as a book acquisitions editor, my companies sought to use this power in ways that didn’t alienate the author or agent.
The crime here is that the publisher has acted without sufficient knowledge of the book’s contents. The editor’s read usually informs the selection of the title, shaping of the cover, and substance of the catalog copy, etc.
The problem with self-publishing is just the opposite, namely, the author’s preferences inform every decision from title to cover to copy editing (or the lack of this). Yet, this does permit the author’s vision to come through clearly.
Rachelle Gardner seems to have been so put out that she couldn’t contain herself. Maybe she is seeking outcry as leverage against the publisher. Or, maybe she just needed to blow off steam. Either way, it’s too bad as others have said.
Tim
I know that’s how publishing works, and when I was prepared to go the traditional route, I steeled myself for that eventuality–that someone might want to change a title. But I guess what really ticked me off was the completely lack of consideration for the author’s vision in this story. I understand the purpose from the publisher’s perspective–they need to have a marketable title/cover, they need to make sure they aren’t releasing two books with the same title at the same time, they may even be protecting the author from his/her own *lack* of vision (i.e., the publisher could come up with something much better than the author came up with). Some authors readily admit they aren’t good with titles. But I guess to me, it seems that this power has become another way for publishers to rule their little fiefdoms, at least when I read stories like this one.
Obviously, we don’t know the publisher’s side of the story, and neither did Ms. Gardner, apparently. But to me, the lack of communication and consideration for either the author or the agent just highlights what’s wrong in publishing today.
I confess that when I first read Gardner’s post I wasn’t blown away with ire when I read about the title issue or the cover issue. I understand the concept of contracts, and although the lack of consideration was insanely stupid (way to go, publisher, alienate a big name agent and an author who just signed with you for the first time–Epic Fail), I also think, well, you sign a contract, you live with the parameters or you break it. Where I really started to seethe was where Gardner revealed that the publisher had not even read the book. I agree with you that the real crime was making decisions by fiat before even knowing what was in the book.
There are certainly problems with self-publishing, but empowerment on the part of the author is not one of them. I think authors have to look at self-publishig as a business to grow. I’m fine with that. I *like* that. And just like any small business, those with good promotion, good quality and quantity, and good customer service will be the ones who rise to the top. We can argue about what “good” means, but I believe that an author who wants to build a business will be able to find an audience in this brave new world.
Thank you so much for stopping by and commenting. I do appreciate your perspective from the other side of the table! And I realize this is one bad story, but it was just the exclamation point I needed for my indie manifesto.
You’re a legend! I love it! Keep it up! P.s you’ve just picked up another reader!
Thank you, Alison! I hope someday I really *am* a legend!
And I’m glad to count you among my readers!
Great rant and courageous too!
Here’s the thing, though. As much as I agree with the overall point you’re making here, I’m not certain that the story involved justifies it. In other words, yes, there is tremendous incompetence at work in the situation described by Rachelle Gardner. But that happens and goes unpunished in every industry.
The difference with publishing is that this is more widespread then people would have you believe. The other main difference is that there are a host of other giant problems with publishing much more significant than what is going on in that particular tale.
Writers ARE treated shabbily by publishers in many ways. It’s a what have you done for me lately industry, but so is acting, etc. What makes print publishing such a mistake nowadays for writers has much more to do with money and means of delivering books then it does to do with stupid ignoramus editors.
An E-Publisher’s Manifesto
I agree with you that the reason writers should self-publish has more to do with money and delivery than with treatment. That was why I decided to go indie. But, it’s this new ability to connect with an audience and start making money quickly (in theory) that makes the shabby treatment so much more odious. Because authors have so much more potential power, it’s absolutely ludicrous for a publisher to treat the talent this way.
It is true that people are treated shabbily in every industry. That doesn’t make it right, and that doesn’t mean it has to stay that way. But in general, I think there does seem to be a hesitation to treat authors at the beginning of their career with the same respect that an author with some experience can expect. Part of this is the problem of the writers/authors. Too many people treat writing as a lark or a hobby rather than a business. It doesn’t matter whether you are indie or traditional–you still have to treat this as a job/business in order to have the best chance at lasting success.
I agree that this one story, coupled with Natalie Whipple’s story, doesn’t totally justify the decision to go indie. As I said, I’d already decided. What these two stories did for me was cement my decision and put the proverbial exclamation on it. It’s clear from the comments on Ms. Gardner’s blog post that she will had no shortage of submissions. There are still plenty of writers who sympathize with author, but accept the standard as a given for an industry they want to break into. For me, it just made it clear that I made the right choice.
Thanks for reading and commenting! I hope you drop by again when I’m not ranting…
Great rant and I agree 100 percent. I have never queried, though I did my homework on it and even actually enjoyed writing a query letter but as you know, I started reading more and more and talking to others, and hearing of published authors troubles and reading those horror stories, and the one thing that struck me most was how all these authors were so desperate to be accepted by the publishing industry that they sold their publishing souls but for what? Seriously, why would you allow someone to have THAT much power over your creation? It’s like a doctor saying to a new mother: “Oh sorry, we’ve changed your baby’s name to Harry, we didn’t think John was the right name for him.” WHAT? no, nobody messes with my boy or tries to change him…he’ll get bitey if they do
That is a great analogy–naming the “baby.”
Love it!
I do understand why the publishers put this clause in their contracts–I really do. It’s a business thing, and I get that. And if you sign a contract, then you know what you’re getting.
What gets me is that while the publisher may be in the right legally, it shouldn’t be an excuse for the publisher to treat the author so horribly. Really, I really believe that most authors WANT the best for their work, and when we’re presented with other options that are reasonable and fair, we’ll certainly take those under advisement. That’s what the whole critique/editing process is for. It’s the complete disregard for the author that gets me. In this publishing environment, can any publisher really afford to treat an author this way? I think not. Partnership, not dictatorship, should be the name of the game.
(And p.s., Connor Mac Niall would totally make an unholy alliance with your boy if it meant protecting their names.
)
Me thinks Connor would get on really well with my boy
I totally agree, it’s the disregard for the author that boggles my mind, but I am smiling because things will change, and they will have to change with the times or they’ll end up losing millions just like the recording industry! mwah hah hah!
Connor gets along with most folks until they piss him off….. Then he… Well, he has a berserker button, shall we say.
You go, girl.
Thank you, Ms. Gardner!
Impressed!
You’re getting noticed.
Well done.
You are going to do so well as an indie author. I know. I have eleven titles selling well.
And so will you soon enough!
Thanks, Daryl!
I certainly understand the strong emotional response to Rachelle’s post. And I’ll join the chorus singing “Traditional Publishing Is Far From Perfect,” but I think it’s unfortunate that anomalies such as the one she (generously and transparently) shares are being viewed as finite and final evidence that authors who seek traditional publishing are most probably fools or masochists.
The publishing professionals I have known are exactly that – professionals. They’re committed to working with authors and helping them publish the best books possible. Are they perfect? Nope. But neither are they evil. They want to sell your book. If your goal is the same, then you’re partners, not enemies, and what they bring to the table can be substantial (market understanding, access to gifted editors and cover artists, distribution channels, etc.).
Hard (but fair) truth: the people who work in publishing aren’t automatons programmed to accept your every idea as if God himself spoke it into existence (though most won’t shy from telling you with sincerity what they love about your book). They’re actual flesh and blood professionals dedicated to giving your book a fighting chance on the shelves and they offer their expertise to that end. Yes, how well they accomplish this goal is arguable. But if you’re to have success as an independently-published author, you’ll need to consider the very same marketing and sales challenges. If you’re a gifted renaissance woman (or man) and you have the time and money to fund the multitude of skills required to sell your book, by all means self-publish. You will become a hero to many with your success.
I am fortunate to work with traditional publishers and authors who choose to self-publish. Both have been equally dedicated to the mission of selling books. Both have had their share of success and failure. I think both entities can co-exist quite comfortably in today’s book-selling environment. And quite probably tomorrow’s, too.
Self-publish if you want. Be bold. Do it the way you want to. But let’s not demonize the entire traditional publishing industry because some authors have horror stories. I’m sure you could find far more horror stories in the self-publishing world, from vanity presses that prey on well-meaning authors’ souls and wallets, to costly self-marketing efforts that net insignificant sales, to authors who have to park the car in the driveway because the garage is filled with unsaleable books.
Anyway, that’s my two cents. I’ll cheer your self-publishing endeavor just as I cheer all authors in pursuit of publication. I’m just not going to scowl at traditional publishing while I do.
Wishing you much success.
Oh, and Alannah, while the doctor/baby name analogy is cute, it’s weightless unless you’re planning on marketing and selling your baby to a public already saturated with babies who are probably almost as cute as yours. Just sayin’…
If I communicated that authors seeking traditional routes to publication are fools or masochists, forgive me. I certainly didn’t mean to communicate that. I have writing friends who still want to go those traditional routes, and I wouldn’t call any of them fools or masochists. They have their reasons for wanting to go the traditional route, and usually their reasons are related to not wanting to deal with the promotion/marketing/business side of the indie life. I can respect that.
However, many of them *are* surprised by the truths about publishing—they seem shocked that publishers have so much control and can make so many decisions about their “babies.”
I agree that most likely the vast majority of publishing folk are honest, hard-working, upright people who want to put good stuff in front of the public. They probably often feel handcuffed by time and market constraints, pressured by higher ups to “acquire or die,” and frustrated by the kind of author who refuses to accept ANY input whatsoever. It has to be hard in that position. I can appreciate the difficulty that lies there.
But the key to that argument is, as you point out, partnership. It would seem that the publisher in Gardner’s story did not have partnership in mind. And while it is only one story, it does make me wonder how many stories are out there that we *haven’t* heard.
Personally, I don’t shy away from the business, marketing, promotion side of publishing. Quite honestly, it invigorates me. I *like* business, and I think indie publishing will probably be a very good fit for me. I’m perfectly willing to outsource tasks wherever it makes sense and as I have the money in my business to do so (but I will build it on a cash basis). And if any author asks my opinion, I will be happy to give it, and I will encourage the author to take a long, hard look at the whole big world of publishing and consider self-publishing as a viable alternative to the traditional route.
I think indie and traditional *can* co-exist in the publishing world of today and tomorrow. But honestly? I don’t see publishers thriving unless they can make some hard, radical changes to their business models, their processes, their methods—and yes, their treatment of authors overall. The horror story Gardner shared is what happens when the author has already made it through the massively long route of getting an agent, selling a book, signing a contract, etc. etc. etc. It exhausts me just to think about it. I don’t know that there’s anything that can be done to make that process shorter, but I do know that more and more authors are going to avoid it completely, because they see it as part of the “horror story.” I know I did.
Again, as I said, I’d already made the decision to go indie before I read that post, so for me, this horror story just cemented my already poor opinion of traditional publishing. I confess that the more I read, the more disillusioned I am with the entire machine. I’m not just talking about the “horror stories.” I’m talking about the way things are done as a rule. I read publishing and agent blogs when I have time, and I am less and less impressed as a whole.
By the way, tons of folks *do* “sell” their babies through modeling, acting, performance contracts every day. If I believed in my kid’s talent and was told I’d have to change his name, I’d probably go ballistic. But clearly, I tend to have some strong opinions, so….
Thank you for taking the time to post such a thoughtful response. I appreciate it!
Amy,
I’ve just used up most of my deep-thought brainpower responding to Daryl’s comment below. I guess this is what I get for reading up from the bottom of a comment thread.
But a couple things anyway (with apologies in advance for brain-tired lack of focus):
*My “fools or masochists” comment wasn’t meant to cause you distress. I chose those words because they underscored what I believe you found most distasteful about traditional publishers – they have the power (and apparent intent) to undervalue authors’ talents and carte blanche to treat writers like crap. The logic of your argument would have us all questioning the sanity of any writer who would risk such treatment. Acknowledging “it might be right for some people anyway” doesn’t negate your claim. Anyway, apologies if my words sounded a bit harsh. I like to rant, too.
*I understand the general disillusionment with the traditional publishing model. And if you’re geared up and excited about going your own way, then good for you. I’m just not ready to shun traditional publishers because of the sins of a few. (Most stories I’ve heard have been good – with the most common complaint being lack of sales in general, which sadly is a reality for most published books, no matter how they get into the distribution stream). It’s true that my stubborn optimism might be due in part to a bit of intentionally naive nostalgia. I was raised on books from these publishers. I don’t want them to go away. I like bookstores. I like paper. I like seeing a stack of bestsellers on a bookstore table and imagining my own there someday. But mostly, I believe in publishers’ ability to figure it out and stay relevant. The machine will have to adapt, but I believe it will find a way.
*And finally, yes, many folks do sell their babies through modeling, acting, and performance contracts. However, I think that’s a very different discussion. When we start equating our flesh and blood children with commerce…well…I get more than a little queasy.
I wish you the best.
Steve
Steve,
Re “Fools and masochists”: No worries. I just wanted to be sure that *I* clarified that I don’t believe that. Personally, I do question the decision to go the traditional route, and I do think many writers are uninformed about just how much control the publisher has.
Re disillusionment: I have heard a lot of good stories, too, and I know there are many, many authors who are very happy with their contracts and such. As I said, I’m not willing to declare the machine dead just yet. It needs to adapt, but I think it can if it wakes up soon…. And as for bookstores, I really think the little indie shops will become meeting places and sources for rare titles and places for writers and audiences and school groups to have readings and puppet shows and who knows what else. Who needs a big stack of James Patterson when you can read “Good Night, Moon” to a group of toddlers?
Even though it’s not a “little” bookstore, look at Powell’s here in Stumptown. Powell’s is where you go to find the title you read years ago, to find that rare reference book, to hang out with the … unique … set of folks in Portland. Powell’s won’t go anywhere. 
Publishing is, in many ways, a victim of its own previous adaptations. It just needs to adapt again.
Re kids: I get queasy with that concept, too, but that was kind of my point. I get queasy when I think someone can have ultimate control to treat my “baby” — my novel — poorly by making unilateral decisions that I hate. And if that’s what I risk by going the traditional route–as I would risk it by pushing one of my kids into acting, modeling, etc.–then no thanks. It’s not for me. I won’t have any of my little “creations” treated that way. Just going a little Jonathan Swift here…
Thanks again for weighing in. Good luck finishing your novel and making your own decision! Hope to see you back here–your comments are intelligent and well-considered.
Amy
Stephen,
I don’t know if Amy will let this comment stay here or if she’ll delete it. This may be getting too controversial.
I can’t get into a debate regarding traditional publishing vs. indie, nor am I willing to. I know you haven’t come looking for one or even addressed your comment my way.
I apologize up front for stepping in here. I just needed to say a few things. If I offend you personally, then I apologize…
Traditional publishing as we have come to know it, is done for. It will take a few years, but it is over. There is no doubt about it. You actually know this. So does Rachelle. It’s just hard to admit it. I know, and it’s okay. I’ve met the type before.
It is a fact.
Let me ask you: What if someone signs this week for a 3 book deal with their first book coming out in 18 months and finally their 3rd book coming out in 2014 or 2015.
Borders will be history by then. Chapters/Indigo in Canada is undergoing massive renos right now, as we speak, diminishing their “fiction” sections due to the e-book sales.
What major chains will be around to sell this hardcover coming out in 2015?
About e-books: Why sign a contract and give the publisher all the royalties? Why not, inexpensively, upload your own book onto the Kindle and keep 70% for yourself. I know, I know, covers, blurbs, formatting, etc.
We’re adults. I think we can handle it. I ran a company for 20 years and am now retired at 40 years of age. At one time I owned over 20 stores and had 80 staff. My annual income was more than my doctor. I’m not an idiot. I’m running this company of indie publishing and doing quite well.
One of the biggest problems in the publishing industry is anyone associated with traditional seems to have a higher than thou attitude. They’re all important. The publisher is king. The agent knows all.
Sorry. That’s the falsity that is crumbling this empire.
I could go on, but I’m getting too fired up. I already wrote everything in my book, “Publishing Exposed: The Sedore Report”.
Nothing personal. This is not an attack, only my two cents…
Daryl Sedore
Daryl, I won’t delete any comment that speaks respectfully to the other posters. We’re all grown-ups. We can handle controversy (or should be able to).
For my part, I’m unwilling to declare anything “dead” just yet. I’m reminded of Twain’s quote about the report of his demise…
Broders and Chapters are certainly in dire straits, no question. And I’m inclined to agree that it’s the small independent bookstores that will thrive in this new world over the big box bookstores.
As for traditional publishing models, they need to be seriously revised for big publishers to have any hope of resurgence. My suspicion (without being an expert by any means) is that the small presses will thrive the most. They will have the best speed to market and the most nimble business models that can keep up with the changing nature of the business. I also suspect that agents will still have a place, as will entertainment attorneys, *good* freelance editors, and freelance programmers and formatters.
Consumer demand will fuel indie successes and force publishers to drive prices of e-books down. Already, I will download inexpensive e-books from indie authors and put big name favorites on hold at the library so that I don’t have to pay $12 to download a megabyte of information…. Consumers will force competitive pricing, and indie authors and small publishers are in a much better position to handle that demand than the mammoths in New York.
I absolutely agree that I would not want to be in any kind of long-term deal with any publisher right now. I also agree that the publishing empire has nurtured and encouraged the idea that they know best. There is a mystical aura around the industry that I think needs to go. This is not an opinion I’ve formed from one or two bad stories. It’s an opinion I’ve formed after reading publishing blogs, agent blogs, writing blogs. It’s an opinion I’ve formed after researching the traditional route and attending writer’s conferences where I had to hear about the “real world of publishing.” And it’s an opinion I’ve formed after reading a few indie books that were just as good — or better — than many of the books I’ve seen out of New York.
And really, even lack of editing and such isn’t a guarantee of failure in the indie world. Look at Brian S. Pratt. He made $25K in the last quarter of 2010 from Smashwords alone, and he’s never had a book professionally edited. http://www.huffingtonpost.com/mark-coker/indie-ebook-author-brian-_b_794433.html
Honestly, this post was as much about my reaction and the fact that the story cemented my decision as anything else. But given the opportunity, I won’t hesitate to tell an author that he/she *should* self-publish if there’s any way at all that he/she can stomach the business side of it. Oh — there’s another biz that will potentially thrive — freelance PR and ad folks who’ve been laid off from big agencies and can find a way to parlay their PR skills for authors who don’t want to mess with that side of it. I’d do it. I’d love it.
But I’m going to be busy writing….
Daryl, I appreciate your thoughts and don’t take offense at all. I’m all for intelligent discourse. It makes us all smarter.
I think everyone in publishing is aware that change is in the air. Surely any who deny this will have a hard time staying in business in the coming years. But this doesn’t change my optimism regarding the continued role of traditional publishers.
Indie publishing models will evolve and proliferate and traditional publishers will need to take note of what’s happening, but the smart ones (and I believe there are smart people in traditional publishing – not all are self-important kings or know-it alls) will find a way. Perhaps by giving more to the writer. Perhaps by innovating in distribution and marketing. Admittedly, the smaller you are, the faster you can act or react. I’m sure this is in part why you’re enjoying success. And I applaud you for that. I hope you know I mean that sincerely.
On another note, I would propose that there’s a notable difference between “we’re adults” and “we’re good writers and savvy marketers and skilled salespeople.” If being an “adult” were the only criteria for becoming a successful published author, well, you can see where I’m going with that. Am I stretching your comment too far? Maybe. But to minimize the significance of “the rest of everything” that goes into publishing a book is to court failure.
I see a great growth opportunity for small independent publishers in the coming years – for quick-on-their feet teams or individuals geared to helping those authors who have a great book idea take it from first draft to salable form. While many of these will have more in common with today’s vanity publishers, I imagine some could end up looking a whole lot like tiny traditional publishers – making decisions about which writers to help based on the salability of their books. There’s a bottom line even for the little guy, right? Whether you take money up front to help the writer get things done, or take a portion of royalties to pay for the work you already did – without an income stream even the little guy goes belly up eventually.
I’m not ignoring the true self-publishers – I’m sure lots of writers will choose to do everything themselves, or perhaps avail themselves of a few specialists (editors like myself, graphic designers, artists, marketers, and that ilk) to improve their chances of success. A few of those may sell enough books to be profitable, an even smaller few to give up that second part-time job. And if these authors are happy with their sales, why would they even care to consider any other option?
But isn’t everyone secretly hoping for that breakout hit? For the kind of sales that give them the confidence (and ability) to quit the regular job altogether? I think this reveals the biggest problem (challenge? opportunity) of the do-it-yourself approach. How do you get there from here? Social media gives access to new, inexpensive and immediate marketing opportunities, but when everyone and their mother is writing a book, how does anyone sort through the noise to find something they want to read?
I don’t have any brilliant answers here. I suspect in time they’ll become obvious, but as it stands now, I believe traditional publishers’ books will continue to hold a certain perceived value (right or wrong) over otherwise-published books, however they bring them to the table, and in whatever form. And I believe traditional publishers will still produce the biggest blockbusters (though surely not all of them). That’ll keep them around for a while.
I could be wrong about all of this. I’m okay with that. But for the record, my optimism about the future of traditional publishing isn’t the byproduct of some anxiety over the potential loss of my own career. I’m doing fine with indie work and enjoying it as well. I’m also a writer. And unsure about what approach I’ll take when I finally finish the novel.
On a personal note, I do hope bookstores stick around, though. Maybe indie stores will find a new way to matter. I hope so. I like being around people who read almost as much as reading. There’s something about the air in a bookstore that makes me feel smarter. And better. And more…human.
Anyway, thanks for the conversation. I should get back to paying work now.
I just want to say that I’m happy this conversation is taking place on my little blog. I love the discourse.
I also want to say I stand by everything I said in my original post. I am optimistic about my chances of success because I’ve built a business before and because I’m fairly certain I’m a good writer.
While there are certainly intelligent people in publishing–I’m not saying there aren’t–I do stand by the idea that there is a mystical aura around the industry that puts authors in a difficult position. Yes, the slush pile is bigger in the self-published world, but I think it is still easier to get to the point of making a living as an indie than it is to get to that point with an imprint. I really do.
I don’t necessarily expect a break-out hit or blockbuster status. If it happens, fine. If not, fine. If I connect with a few readers who like my work and I can make enough money to feed my writing habit, I’ll be thrilled.
And really, this is one thing that *IS* a true advantage of indie authoring… I don’t *have* to sell a certain amount of copies to make back an advance or please a publisher. How many authors have terrible sales with a traditional publisher and end up with one book in the bargain bin? Yes, that could happen as an indie, but then I can write another, upload it, and try again and again until I get better, get attention, what have you. No one breathing down my neck, no one demanding a certain amount of sales, no one worried that I can’t fulfill my end of the bargain.
I do thank you both for your thoughtful comments. I love the conversation and look forward to having more of them on this blog. I hope you will both participate!
Amy
This was a great blog! Feel free to rant as much as you like, for if you hadn’t, I would never have known about these horror stories.
I have always been scared of self-publishing and don’t really have the funds to do so at present. You have really made me question my needs and wants.
Thank you for this & I will post a link to it on a writer’s forum I am a member of, The Word Cloud. I am sure they would be interested to read ab out these experiences & i’m sure that a few could tell you some horror stories of their own!
Kindest regards
Persistent writer, you really don’t need much in the way of funds to get started as an indie author. You can go the e-book route for basically nothing. You can barter for graphic design and editing, if you need it.
I just uploaded my novella “Silver Thaw” in December, and it’s getting great reviews so far. Here are my expenses:
Writing the draft and asking critique partner to edit: $0 in exchange for doing the same for her later
Cover photo: $30 to a friend who edited the photo for me
ISBN numbers: I bought a block of 10 because I plan to do this again, and that’s a cheaper way to buy them than going one at a time. $250
Register the copyright: $35
That’s it. No printing costs involved. I set up my accounts at Smashwords, Amazon, and Barnes & Noble for free and uploaded according to their guidelines. You can also get Zoe Winters’ book “Becoming an Indie Author” for $2.99, and she has a great chapter that will lead you through exactly how to format everything. I think her instructions are easier than the ones the stores provide.
For “Ravenmarked,” I have eagle-eyed friends helping me edit and proof. I did pay for the cover art, but it was very, very reasonable. And since I have the ISBNs already, I won’t need to buy those this time around. I will register the copyright again when I upload the final version.
I encourage you to really look into your options. Self-publishing is more accessible than ever. If you haven’t read her story yet, Google Amanda Hocking’s blog and read about how she got started. It’s a fantastic story.
Good luck!
Amy
Amy, the thing that surprises me about this latest example of publishers screwing up, is that it surprises anyone. Last week I took a pot-shot at Simon & Schuster for deifying an author. Now we have the esteemed Ms Gardner exposing the flip-side: a publisher deifying itself. These examples are just the tip of a very large iceberg that, unless many big-name publishers pull their collective heads in, will sink ‘em. And not a moment too soon, I say. Couldn’t happen to a nicer bunch of bastards.
These flaws have been around for a while but until the internet came along, and outfits like Amazon, Smashwords and so on with it, writers have been able to sweet nothing about it. Now writers, real talented writers, are moving to self-publishing. This is just the start of a movement in which writers all over are raising their collective middle finger to blind, arrogant publishers.
Of course, self-publishing is allowing many less-talented writers to make their work available, just as the publishers point out. What they don’t point out is that self-pubbed writers also get direct feedback through reader-to-writer communication and instant, live sales results. If their writing’s no good, they’ll get crap reviews and poor sales. At first. They’ll have a chance to improve, refine and hone their craft with the biggest teacher in the whole world: the whole world. If they’re truly talentless and can’t learn, then well there’s always bar-work I guess.
If their writing is good (like that of an indie fantasy scribe I reviewed a few days ago, wink wink) then they’ll get good reviews and good sales will follow. It may sound like an old saw, but the market knows. Publishers may also notice them.
What’s a successful indie writer to do if and when this happens? Between you and me… okay, you, me and and the rest of the world, that writer should continue on down the happy path of financial success, complete artistic freedom and also the ultimate freedom of being their own boss.
As for the publishers which finally notice the self-pubbed writer? I imagine the call might go something like this:
Ring!
Previously snubbed writer: ‘Hello?’
Publisher: ‘Hello (insert previously snubbed writer here), it’s Lord Head-up-my-backside from Dumbass Press here. We were wondering…’
Previously snubbed writer: ‘Oh now you want to publish my work, eh?’
Publisher: ‘Yes, but is that tone nec…?’
Previously snubbed writer: ‘May all your chooks turn into emus and kick your dunny door down!’
Click.
In other words, sideways with a rusty rake for them. They dug their own grave: let ‘em rot in it.
Sam,
Had to say, the phone conversation part of this post made me fall over. Very funny, very funny indeed.
Thank you for spilling my coffee….damn!
Daryl
Thanks Daryl. Believe it or not I once worked for a publisher (so long ago it seems another lifetime ago) who may or may not have been the template for Lord Head-up-my-backside. With no interwebbing back then, the writer, a stubborn chap, found another publisher. Eventually. The chooks & emus phrase is an Australianism we reserve to vent at only the naughtiest of the naughty.
Sorry about the coffee. A tragic waste of precious java – hope it doesn’t stain.
Sam, you should really warn folks when you’re going to post a conversation like that. LOL. It was the “sideways with a rusty rake” that really got me…. *cleaning coffee off screen now* That’s awesome. I’ll be laughing all day.
I agree with your belief in the free market 100%. Here’s a funny thing: I’ve been reading some of the Amazon fantasy forums the last several days, and I keep seeing folks say things like “where are all the good, old-fashioned adventure fantasy stories?” or “why is it all vampires and werewolves now? I don’t read vampires and werewolves.” It appears that some frustrated readers kind of want some lighter fantasy without all of the paranormal overtones.
Right now, publishers of fantasy have titles in their pipelines, and I’ll bet you they’re largely steampunk, paranormal, or dark fantasy titles. That’s fine–that’s what “the market” wanted two years ago when the publishers bought those titles.
But here I sit, as indie as I can be, thinking that I could take a minor character from “Ravenmarked” and write a whole series of lighter adventure stories in that world that would meet that market niche. They could be short–novellas or shorter, even. I wouldn’t have to put in the long, arduous hours of writing a novel. And in a month or so, I could upload a new story that responds to that market niche. Oh look–who has better speed to market? Who can respond faster? Hmm… And no publisher would publish a novella, and short story collections are for the Stephen Kings and Neil Gaimans of the world. But the Kindleverse opens a whole new world for writers like me who have thousands of ideas and are willing to spin them a hundred different ways.
Anyway, that’s kind of a side note. I have to say that the story in Ms. Gardner’s post really didn’t surprise me much. And I think people might think I was pissed about the title change and cover issues themselves. No, that’s not it. It’s the fact that those changes were made without input or consideration and before the publisher even read the MS. Plus, there’s the “good luck with that” attitude that Ms. Gardner communicates to authors–in other words, this is the way it is if you want a publishing contract. You have to live with the publisher having this kind of control. Sometimes they use their powers for good, sometimes for evil, but they are in charge, and you have little say in the matter.
Nuh uh. Not for me.
Thanks for your comment, and thanks for the laugh. I loved the conversation.
Hey Amy. I should be thanking you for the rant. Always nice to see an articulate dummy-spit.
Sorry about the screen and the spillage of coffee. I could head future comments with a warning like ‘WARNING: May contain traces of comments by a nut’ or ‘Hey you, yes you with the coffee. Put the cup down and put your hands behind your back.’
Yeah, it’s exactly the not-reading of a ms by a publisher an that kind of complete disregard for the writer that’s the big mistake the publisher made. Hope a kick in the pants was delivered. Gardner’s ‘good luck with that’ is perhaps an indication that she, like so many I’ve seen, is losing faith in the possibility of publishers having any remaining traces of humility or common sense.
I’m going out of my gourd with the amount of vampires, fallen angels, steampunk, werewolves on shelves at the moment. Kindling’s not helping much either but it did help me find Silver Thaw so it can’t be too bad. Just gotta sift through the cruft, same as we do with the Christian romance/Christian mystery/Christian this-and-every-other-damn-thing, all the cheesy soft-core and romance.
Epic fantasy seems to come into vogue every decade or so. In the 80′s & 90′s Eddings & Feist, McCaffrey etc were hot. I’m not worried. Fantasy may be the white shoes of book fashion – there’s always a small demand for it, but sometimes you can’t give it away then all of a sudden, blammo! It’s hot again.
Cheers,
S.
This is where labels are tricky…. Mine is technically high (set on another world, although there are strong Celtic images), epic (big journeys, big cast of characters, big quests) fantasy, but there is a strong romantic element to it. It’s also a little dystopian, I think. And I have a soul-thief who could be considered kind of like a vampire, and there are a couple of shape-shifting creatures, and…
Yeah, it gets tricky. And while I would never label my stuff “Christian,” there are definite Christian themes and images in the book, too. I just don’t want someone to pick it up because it’s labeled Christian fantasy and then be shocked when someone drops an F-bomb.
I agree that it’s hard to sift through it all, but I also think there’s a place for it all. Stuff that I don’t enjoy at all seems to find an audience. I think the Kindle is a boon for finding stuff, in a way, because 1) I can skim through samples fast, 2) Amazon picks up on my likes and dislikes pretty quickly, and 3) I don’t have to herd my children around a bookstore picking up random things in an attempt to find something new. I can do it all from the living room.
I agree on Christian lit, too. There is a lot of it, and the range is pretty wide. Some is very squeaky clean, other isn’t… I opted to just avoid that label altogether.
Amy
Should add there’s nothing wrong with Christian lit – there’s just an awful lot of it.
Amy, Stephen…
Thanks Amy for the opportunity to rant here also. And Stephen, I too love an intellectual debate.
It seems, and I hope this doesn’t make you cringe, that we are more alike then I previously thought. Just 5 years ago I was flying to Surrey for a Writer’s Conference and then in August of 2005 I flew to Portland, Oregon for the Willamette Conference. I was seeking a literary agent. I was in search of the coveted “deal”. I yearned to go to the next step as a writer.
When I said, “Publishing as we know it is dead”, ask yourself: What did the terrain look like just five years ago? What will it look like in five years?
I love bookstores. I love books and that’s where we are similar. I, too, look at the pile of bestsellers and wish it had my name on it.
I’m sad that this enterprise is in such a constant flux that we can’t accurately predict its future and it seems grim.
Although, I will tell you a deeper reason for why I’m upset…
…because, as a writer, and a reader for over 30 years, I have always looked up to the published folks and the industry elite that they associated with. In the early 1980′s, I would walk into a book store and hold onto a novel, touching the book and not just feeling its weight, but also the author’s commitment to the story.
“No two people have read the same book.”
Therefore, the author’s commitment felt personal to me. As I became an adult and attempted to join their ranks, I saw things that these publishing folks were up to. Literary agents stealing from writers, publishers dropping authors for lack of sales when they had distribution problems, and freelance editors taking too much money from newbies. I only bring that up as it happened to me to the tune of $10,000.
I’m disappointed. I feel let down. They didn’t OWE me anything, but I feel let down as I expected better of the industry. I knew big business can be corrupt. But the literary elite? The intelligent group of people who brought us all the literature? nah, they couldn’t be.
Then, I saw it and was saddened.
I have a feeling that’s where a lot of indie writers are, disappointed by the captain of the ship.
But alas, there’s no going back.
Anyway, appreciate you being respectful earlier and I also, sincerely, hope you do well with your endeavors.
All the best,
Daryl
Daryl, thanks for the follow-up comment. And if you ever make it back to the WW conference here in PDX, look me up! I think I’ll still go to them occasionally. The creative energy is wonderful, and Willamette Writers does seem to respond to trends and such fairly quickly. Last year there was a panel discussion revolving around an author from Salem who had really good success with self-publishing to the Kindle store. Her name escapes me at the moment… I hadn’t made my decision yet at that point, but I remember being 1) impressed that WW would acknowledge the changes coming, and 2) a little dismayed at how she went about her self-pub process. I think she spent too much money to self-publish.
Oh, and there’s one more thing, y’all: I am certainly not afraid to call smarmy vanity presses on the carpet, either! I know that industry is rife with charlatans.
Anyway, onward and upward! You’re on your path now and doing well! Keep it up!
Amy
Great post Amy! I’m still sitting on the fence between traditional and indie, waiting to fall either way. Every day I read a different perspective on it, and while I’m still querying on the traditional route, I’m also researching the alternatives. You’re right on the validation thing – it’s taken me a while to realise and acknowledge that I don’t actually NEED to be published traditionally to regard myself as a writer, but I’m still finding the marketing side of going indie a little daunting – I know nothing about starting or running a business of any kind.
I’ve no doubt you’ll be a legend. None at all.
Thanks, Pippa Jay.
I had to get over the validation thing, too, but I came to the conclusion that an audience of one or a dozen or a hundred is as valid as an audience of millions.
The marketing side of going indie *is* daunting, even for those of us who have marketed before. There is just a LOT of noise on the Internet, and that’s where you end up doing most of your marketing. I’m still trying to wade through it. I’m not afraid of it–I’m just trying to figure out where to best focus my efforts–where I can get the best ROI.
Right now, I’m finding Twitter and the blog to be the best marketing tools I have. I’m wading slowly into the Amazon and Kindle Board forums. It’s a baby step kind of thing.
Best to you!
Amy
Regarding validation – someone might ask what kind of validation there really is if the publisher buys your book without even reading it.
Ha! Exactly! Although the story DOES beautifully validate Ms. Gardner as a proposal writer and salesperson. She must have written something pretty awesome to sell a book that the publisher figured he didn’t even need to read once it was acquired.
Again, this is why I married this man… He’s pretty dang smart. Handsome, too. (I think I’ve said that before on this blog….)
I’ve heard these types of horror stories for years and I rant about them to whomever will listen. I made a decision a long time ago that when I published, I would publish non-traditionally. I just can’t stand the thought of being so out-of-control of the finished product, especially since there is so much politics and stubborness on the part of the publishers. Too many times, you can’t even negotiate. Now, if they would market the heck out of one’s first book, it might be tempting. Too many authors don’t know marketing. But nowadays they won’t even market you, so you have to market it yourself anyway, so there is NOTHING to lose by going indie. Thanks for the rant, Amy. I couldn’t agree more. And, yes, Rachelle was brave for posting it.
Well, Denise, apparently a LOT of folks will listen, because a lot of folks are still clicking on my rant!
Here’s something I was thinking about last night, and I wish I had expressed it better yesterday, but I was too ticked… The argument goes “well, publishers don’t have to accept everything carte blanche from authors, and they have the final say because it’s in the contract.” I get both of those things. I wasn’t really arguing against those points. I find them distasteful, but that’s why I’ve chosen not to sign a contract.
But, right should not equate to license. I have the right to snoop on every single thing my kid does until he’s 18, but because I’m a decent mom, I choose to respect his privacy and let him make as many choices of his own as he’s capable of making. Hopefully he will make more and more wise choices every year and I won’t have to become T-Rex mom who snoops through his room, his e-mail, his notebooks, etc. But if I see him making bad choices, then I won’t hesitate to exercise my rights in the interest of protecting him from himself and protecting society from him if necessary. The right to protect him and protect my other kids and protect society does NOT equate to license to abuse my child’s privacy just because I feel like it. Does that make sense?
It seems to me that what started as a way to enable publishers to make good business decisions and work in partnership with authors has turned into an excuse, on occasion, to exercise license when restraint and partnership are called for. Just because a thing is accepted doesn’t make it right, nor does it mean it has to stay that way.
The other argument I hear is “well, this is an exception. Most publishers are well-meaning, professional people. Most peoples’ experiences are great.” Again, very true. But as an author, why should I risk it when there’s another way? And the horror story did happen to me, why should I stay if there’s a way out? It’s like saying, “Well, that guy only abuses his wife once a year or so. Otherwise, he’s pretty decent.” Huh?
Now someone will be irritated with me for using a domestic violence analogy. Oh well.
Thanks for commenting, Denise!
I should clarify–in my analogy, I was using the husband to represent the entire publishing industry. Admittedly, it’s not a great analogy. It was just the first one that came to mind.
Perhaps we should say it’s more like buying potentially tainted food or medicine… If I hear the Tylenol’s poisoned, I’ll probably wait for the all clear from the authorities before I go buy more.
I guess my point is that it’s a matter of guaging risk, as is everything. The potential ROI of working with a traditional publisher coupled with the increasing risk of getting a bad deal, a deal that gets canceled, a deal that results in shabby behavior, etc. makes the appeal of going traditional seem riskier to me than going indie. But that’s MY risk analysis, FWIW.
I should have read more of your blog before I sent you those links. I see you’re already familiar with Konrath and Hocking. The more I read about all this, the crazier it gets. You’ve almost got me convinced.
As for the money being worth it, since when was it ever about money? Everyone knows only a tiny percentage of traditionally published authors make a living from their writing. I once got into an argument with a friend over some book that had been poorly made into a movie. I can’t even remember which one, now. I said that I wouldn’t allow someone to botch one of my books that way. My friend and husband both said they would and I should, too, for the money. They didn’t believe the financial aspect wouldn’t matter to me, and they thought I was being a moody artiste when I said I had more respect for my characters than that.
Money is not a source of motivation for writing. I want to connect with readers. I want to have kids email me and say, “I loved your book.”
Lisa, LOL–come over to the Dark Side. The cookies over here are awesome.
I get your point about writing motivations, and I do agree with you to a point, because to me that connection is far more important to me than money. But still, I would love to be able to say I’m making a living as a writer. I never really wanted to be a big bestselling author (although I wouldn’t reject it if it happened!). My big goal, always, was to be a solid midlister. My goals are pretty modest… I just want to make something of a living at it because then I can truly enjoy it. There is a freedom in being financially secure enough to create with abandon. Does that make sense?
But I do totally understand what you’re saying about the treatment of your “baby.” Ursula Le Guin was very displeased with the way “The Wizard of Earthsea” was treated in the miniseries. http://www.ursulakleguin.com/Earthsea.html
But this is the problem with rights, isn’t it? And the problem with signing contracts and such… Suddenly, you lose the legal right to dictate what is done with your baby and you have to hope that the new boss either shares your vision or is open to including you in the process. Because when the new boss has very different opinions, you are sort of SOL.
As is Ms. Gardner’s client.
I cannot emphasize enough how yummy the cookies are on this side. They’re baked with empowerment and creativity in every batch.
I wasn’t referring to the money to be made by self-publishing, I was referring to that line above, “But what if it was a lot of money?” So actually, I was agreeing with you. I would not want to put up with what Rachel’s client went through for ANY amount of money.
And I do believe that there’s more money to be made in self-publishing than traditional publishing, now that eBooks are on the scene (unless you’re one of a very lucky few). I agree it would be nice to make living at what I love.
BTW, you have to check out the ultimate “self-publishing” story here: http://www.deuceofspadesmovie.com/ This woman wrote, produced, filmed, and did everything else for this movie, including writing the songs. My husband contributed to her funding and he says she’s very approachable.
Oh, and there is one thing that might help convince me. Are those cookies on the Dark side calorie-free?
Ah, see, context is everything…
And yeah, I wouldn’t put up with it for any amount of money, either. I’d break the contract. But I wouldn’t work for a jackass client, either.
I will check out that story. Thanks for the link!
And the cookies over here are totally calorie-free…. I’m eating one right now… Yum… (It’s my Dark Side. I get to make up my own rules.
)