What Sort of Publishing Is Right For You?

In my last post, I wrote about the results of a large though unscientific survey of authors, which revealed a high level of dissatisfaction around the areas of marketing, sales and income. This struck me as profoundly unsurprising, almost a tautology.  Dissatisfaction goes with the territory. During the 15 years I spent as an agent and editor, I never met a writer who was completely satisfied with his or her publisher’s efforts, whether they were great or small. It’s like inspecting a house after a cleaning crew has come and gone. No matter how good a job they’ve done, you always notice what they missed.

So that aspect of the survey was not at all surprising. What struck me as I read is the fact that writers today have so many more choices than they had in the past. More writers are making a living than ever before, particularly “hybrid writers” whose books are both published and self-published. Mid-list writers dropped by their publishers are no longer silenced forever. Backlist books don’t recede into memory; they can live forever in e-book form. Short stories and novellas are no longer unsellable. Writers with an entrepreneurial bent can now publish their own work, undertaking the risks but also standing to reap much greater reward if the books do well.

overcoming barriersBut having choices can be confusing, and aspiring writers need to think carefully about which choice is most likely to get them where they want to go. If you read that last post and wondered what to do with that information, I’m going to suggest some guidelines here. They will vary according to writers’ goals and the genre in which they write.

The simplest case is the writer who aspires to write literary fiction, to be reviewed and discussed in mainstream media, and to be considered for the major literary awards. That writer needs the validation and support of a mainstream publisher who can get his book reviewed and sold into bookstores and libraries, because serious review attention is necessary to make those books discoverable. Literary fiction published independently has not been shown to sell well at all, and those writers may end up losing money after paying for editing, cover design and other necessary services.

The question becomes more complicated when it comes to genre fiction writers. Most writers, I believe, are still best served by trying first for mainstream commercial publishing house via a literary agent. It’s not an easy road. The search for an agent can take many, many submissions and often a number of rewrites; and finding an agent is only the start of an even longer process. Some writers are drawn to self-publishing out of fear of rejection, but that’s a fear that really should be overcome. Most published writers have gone through multiple rejections and lived to tell the tale; sometimes those rejections have worked to their benefit, as I discuss in this post. But the advantages of being commercially published are many. Most books will be published in multiple formats, not just e-books, and sold into brick and mortar stores. The more outlets one’s book has, the more chance it will be discovered and read. Being published by a major house is a learning experience and an opportunity to create a loyal readership that will carry over to self-published work should you decide to go the hybrid route. There are other advantages to mainstream publishing as well, too many to reprise here; if you’d like to see them, check out this post and this one.

Things are changing rapidly in publishing, and I don’t claim to be ahead of the game. But here is my current best advice for aspiring writers of romance, science fiction, cozy mysteries, Westerns and the many subgenres within those categories.

  1. Write the absolute best book you can, and then follow the steps outlined here to improve it.
  2. While writing the book, begin researching literary agents and put together a list of at least 50 to 60 agents who would be suitable for your book.
  3. Write a killer query letter and start submitting. (See also Agent Query and Janet Reid’s blog.)  Don’t submit to all the agents on your list at once. Submit to 5 to 10 agents at a time, to allow for tweaks to the query letter if your first try isn’t getting a good response.
  4. While your book is on submission, work on the next book.The_philosopher
  5. If self-publishing is a path you would consider, start educating yourself. There is a tremendous amount to learn if you end up going that route, and many writers have been generous in sharing their process and results. The Absolute Write forum is a good place to start. What you learn may help you decide whether self-publishing is right for you.
  6. Put together a list of smaller commercial publishers who accept submissions directly from writers.  By commercial publishers I mean those who publish your work at their own expense, whether or not they pay advances. In some cases, those books will come out in e-book form only, some with a POD option as well. But be careful! There are now many so-called publishers who require that writers cover the expense of publishing. They like to claim that they have come up with a new model of cooperative publishing, but in fact they are all variations on vanity publishers who have been around forever. Seek out publishers who consistently have books on Kindle’s bestseller list.
  7. If you have submitted to 50 or 60 agents and found no takers, it’s time to make a choice. There are three basic ways to go.fork in roadA.  If you’re determined to be published by a major house or to build a career as a hybrid writer, you should withdraw the book, hire a good editor, do some rewriting and resume submitting to agents. Or chalk that first book up to experience and go on to write the next, which will be better.

    B. You can submit directly to that list of smaller commercial publishers, aka indies. This is a good option for writers who feel their forte is writing, not publishing. Small publishers can usually do more effective promotion and marketing for your book then you can on your own, and they usually pay a larger royalty on e-books than the big five houses: 50% versus 25% currently. But self-publishers keep about 70% (the distributor, Amazon or other, takes the rest), so you should be clear on what exactly those small publishers will be doing for your book to earn their share. A similar possibility is to enter a contest that offers the winner a publishing contract with a reputable publisher. If you win, the contract you are offered may be less than optimal; but it is a foot in the door. In addition, some major paperback imprints like Tor have “open submission“ windows during which unagented writers can submit directly.man reading contract

    Writers who choose option B need to be wary of sharks in the water. A lot of vanity publishers present themselves as “publishing partners” or the like, and many contests exist only for the sake of the entry fee. Writers Beware and Absolute Write have good websites to do that research.

    C.  You can dive straight into the pool of self-publishers. By the time you make this decision, you should have spent months researching the field, so that you know how to proceed, what to watch out for, and how to give your work the best possible chance.  Generally speaking, self-publishing is a good option for entrepreneurial souls who are willing to learn or contract for all the services that a publisher would normally provide, including editing, proofreading, design, promotion and marketing. It works best for writers of genre fiction series who can write very quickly and put out multiple books per year. If you choose option C, and you are writing a series, I would strongly recommend that you don’t start publishing until you have three books finished and ready to go. A singleton, tossed into the vast sea of self-published titles, doesn’t have much of a chance; but you can build readership by publishing books in series released just a month or two apart. You can also discount one title to promote all the others.

    When  I first started out, the only option open to writers was the traditional route of literary agents and commercial publishers. I still think that for most writers, it is the best way to go if they have that opportunity. But it’s no longer the only good option; and the existence of other possibilities and paths open to writers will ultimately tilt the balance of power between publishers and writers just a little bit toward the writers’ side; and that’s a good thing.

     

    Subscribe to this blog via links at right for irregular but, I hope, interesting stuff about the writing biz. Better yet, read A DANGEROUS FICTION, which is both a mystery and an insider’s guide to publishing.

New Author Study Shows Preference for Traditional Publishing

An interesting study about publishing and writers recently came out, and one thing is clear: writers are not a happy lot.

The study, called the 2014 Digital Book World and Writer’s Digest Author Study, is based on responses from 9,210 aspiring, published and self-published writers to a survey conducted in the fall of 2013. The lead researcher was Dana Beth Weinberg, professor of sociology at Queens College in NYC. You can download the report in full from Digital World for a mere $295; if that seems a bit steep, you can get the gist of the results from Digital Book World’s post and this one by Dr. Weinberger herself.

A survey based on responses from over 9000 writers sounds quite impressive; however, the numbers are deceptive. The majority of responders are aspiring writers who have not published in any form; most have not yet completed a draft of a book. Their opinions on the advantages of publishing versus self-publishing are not informed by experience and I couldn’t see the relevance of including them in the study, unless (a cynical thought – put it down to my having the world’s worst cold) it is to increase the likelihood of their buying the complete $295 report. Among the others, 1636 were self-published, 774 were published commercially, and 598 were hybrid authors– that is, writers whose work is both published and self-published. Respondents were recruited through notifications from Writer’s Digest about the survey, which accounts for the preponderance of unpublished writers: the magazine is geared to aspiring rather than published writers.

The author of the report herself calls it unscientific, since it is based on voluntary responses rather than a random sample. Nevertheless, the results were interesting. A few things popped out at me.

discontented writer1. Writers are discontented lot. I said that before. It bears repeating. My advice to aspiring fiction writers is and has always been that if they can imagine themselves happy doing anything else, they should do it. Almost nobody makes a living from writing; and those who write well enough to be published commercially could generally make more money doing almost anything else. Of course, if you are independently wealthy, money need not be a factor. But writing is frustrating and difficult in many ways, not just monetarily. The world is not clamoring for new writers.

For those who cannot imagine themselves doing anything else but writing, despite the difficulties and lack of clamor: welcome to the fold, and the best of Irish luck to us all!

2. Unless you’re one of a small group of perennial best-selling writers or you write salable stuff incredibly fast, the money is absurd. This is true for both trade-published and self-published writers, although trade-published writers make more on average. According to the survey’s data, the median income for unpublished writers is under $5000, with a significant number earning nothing at all. Commercially published writers had a median income between $5000 and $10,000. On the higher end of the scale, the differences  are even more stark. Only 1.8% of self-published writers report an annual income of over $100,000, compared to 8.8% of trade-published writers and 13.2% of hybrid writers.

One advantage of this report is that it refutes the exaggerated claims of many self-publishing advocates. The trope I hear most often among aspiring writers is that publishing with a commercial house is confers prestige, but the real money is in self-publishing. According to the figures in this study, the percentage of writers who earned over $100,000 last year is five times greater among published than self-published writers.

3. If you must write, it pays to be a hybrid writer. Hybrid authors did best on the median income scale, between $15,000 and $20,000. They also scored highest in satisfactionhybrid with many aspects of their career. They were the most likely to be happy with their book’s pricing (44.4% compared to 24% among traditionally published writers) and most likely to be satisfied with sales figures: 9.7% compared to 8.2% among commercially published writers and 4.6% among self-published writers. This tallies with an earlier study conducted by Taleist magazine that showed hybrid writers outselling exclusively self-published writers by a large margin.

Still, it’s clear that even among hybrid writers, 90% are disappointed with their sales. Of course any number can be disappointing if your expectations were higher. In the case of self-published writers, I fear that many of them drank the Kool-Aid dispensed so liberally by self-publishing zealots with get-rich-quick promises. The truth is, it’s very hard for unknown writers to get noticed and to sell books in any quantities, even with the might of a Random House or Simon & Schuster behind them; and it’s far harder for do-it-yourselfers. But published writers, too, are disappointed with their sales; only 8.2 reported themselves “very satisfied” with sales, and 10.4% said they were happy with their publishers overall marketing and promotion of the book.

In fairness to publishers, I will interject that based on my years as a literary agent, there is never enough marketing from the writer’s point of view. However much the publisher does, writers tend to focus on what they haven’t done.

4. Across the board, writers still prefer commercial to self-publishing. That preference emerges clearly in this study. Only 35% of self-published writers would prefer to self-publish their next book; among hybrid authors, who’ve tried both methods, 30% would self-publish by choice. Among published writers, the figure is 7.5%, indicating that despite their dissatisfaction with the industry, the vast majority would still choose it over self-publishing.

 

For more on the hybrid route, see this eye-opening interview with bestselling author Lorraine Bartlett. Subscribe to this blog via links at right for irregular but, I hope, interesting stuff about the writing biz. Or read A DANGEROUS FICTION, which is both a mystery and an insider’s guide to publishing.

 

 

An Unorthodox Path to Publication

I love it when my students go forth and publish. They do all the work, and I claim all the credit.

Well, almost all. All except part where they work their butts off and never give up and spend years learning the craft every way they can, until publishers are clamoring to publish them and agents to represent them.

On that note, allow me to introduce my guest blogger, Amara Royce, whose first novel, NEVER TOO LATE, was published in May 2013 by eKensington, and whose second is under contract to the same publisher.  It’s a pleasure to welcome her to In Cold Ink.

 AmaraRoyce2

First, thanks so much, Barbara, for inviting me to be a guest on your wonderful blog! I always find your posts valuable, and I hope I can provide even a fraction of your insightfulness from my newbie-ish perspective in the publishing industry!

Note: I took one of Barbara’s fiction writing courses online through Writer’s Digest a few years ago. She’s an amazing teacher, as well as a fabulous author!

Never Too Late e bookI readily admit that my experience in publishing thus far probably doesn’t appear typical. My historical romance, NEVER TOO LATE, was my first completed novel. In June of 2012, I began querying agents for NEVER TOO LATE. By September, a mere three months later, I’d obtained both a two-book deal with eKensington and three offers for agent representation. It was quite a whirlwind. In fact, I still haven’t really recovered.

But as we writers know, the devil is in the details. Taking a look at my own writer’s journey thus far, I’ve arrived at three observations that are not especially new or *cough* novel but that I think are important for me and perhaps for other writers to keep in mind on the road to getting published.

Writing is hard work

hard laborWhile it’s true that my first completed novel garnered a book deal, I actually began writing in 2006 in a completely different genre. Learning to be a good writer is hard work! And it’s not a linear process. I’ve had a lot of false starts and done a lot of writing just to learn the craft of writing. And knowing about the craft of writing isn’t the same as actually doing the writing part well. For instance, I now know that some newbie writers tend to start their story in the wrong spot, with backstory that would really fit better later in the story, if at all. In some cases, writers could cut the first three chapters of their manuscript and find that the event in chapter 4 is really a more compelling place to open the story, a much more engaging draw for readers. Still, knowing that tip is very different from writing the story. I’ve had to cut and restart more stories than I want to recall!

And, as a learning process, it never really ends. I look back on some of my early efforts and have to laugh at their roughness. Frankly, I look back on something I wrote last month and know I’m going to have to fix it! And I know that everything I write, as unfinished and raw as it might be, helps me improve as a writer. Sure, I had to shelve that short story or gut this chapter or set aside that stale idea for my next novel, but that’s all part of the process.

There’s a heck of a lot to learn about the craft of writing and even more to learn about the way publishing works. Learning to write query letters, for example, is a whole different process than learning to write fiction. That subject would require a whole separate post!

Writing makes me vulnerable

shameAt every step of the writing and publishing process, fear and doubt have been my constant companions. I teach English at a community college so getting published actually strengthened my sympathy for my students. Whenever they submit essays and other writing projects, they leave themselves open to judgment, to grading. Even if they aren’t writing something personal, they are subjecting themselves to criticism (which I try to do as gently as I can). The querying process crystallized that vulnerability for me in new ways. Thanks to querytracker.net, I now know that I had a 30% request rate from agents so I know exactly how much rejection I received along the way (28 rejections from 41 queries). Do I have a compelling story? Is my writing any good? Is my story sell-able? Am I just deluding myself? Oh, so many self-doubts reared their ugly heads as those rejections rolled in.

Moreover, sharing my manuscripts with beta readers, with my agent, with my editor, and finally with the reading public lays that work out for judgment over and over and over again. (I use the present tense here very deliberately. I continue to face this judgment daily.)

I thought the self-doubt during the query process was bad, but having my work out there for readers to *buy*…is absolutely terrifying!  Even after all the editing and feedback, I can’t help but wonder what I missed, what I did wrong, what I should have done better. People who know me are inclined to be gentle with their criticism; readers who are spending their hard-earned money and reviewers whose job is to serve those readers and not to mind author’s egos have no such compunction about gentleness. Nor should they. NEVER TOO LATE has received some really lovely reviews that I treasure; it’s also received some harsh reviews that are painful, that cut to the heart of my worst fears as a writer, but that will help me continue to grow as a writer. All the self-doubt, the vulnerability, is just part of the experience of being published that I have to manage for myself.

Writing is worth the effort

VictoryAs difficult as the journey to publication may be, I have to say that, for me, it’s worth every second. Every stage of publication has been wondrously surreal for me.

Note: What I did is generally not recommended. After querying agents for a couple of months, I got a teensy bit impatient and queried some publishers that accept unagented submissions. I still don’t recommend it. Yes, it’s a case of “Do as I say, not as I do.” If you want an agent to represent your work and to strive to sell it to the best publisher possible, focus on that first. I just happened to go a slightly different route.

My “The Call” story is a little unusual in that I got “The Call” from my editor at Kensington with a two-book offer for their eKensington imprint before I had agent representation. In fact, when Kensington’s editor-in-chief, John Scognamiglio first called me, my mother was coming to visit my family for a week and I was on my way to pick her up at the station. Yes, I was driving. I know, I know. My only excuse for picking up is that I thought maybe it was my mother with an important travel update. When it turned out to be John, I must have sounded like total stammering flibbertigibbet, one who had to get off the phone immediately because I’d answered while driving. Fortunately, John was kind and understanding, and we scheduled a phone call for the following day. As an avid list-maker, I had lots of questions about the deal, and John patiently answered all of them.

This was during the week prior to Labor Day and John needed an answer in time for the next editorial meeting, so I had a short time in which to update agents who had requested my manuscript with the news that I had an “offer in hand.” Sure, I could have taken the deal without an agent. I could have just had a literary attorney review the contract for me. But I’d started querying agents for a reason: I wanted agent representation to guide me in my writing future. So, after sending out updates, I received emails from three agents to schedule “The Call.” That was a stunning and hectic couple of days! Again, I had a long list of questions, and each agent patiently responded and gave me detailed information about their agencies and their practices. To say it was difficult to choose from them is an understatement.They each had their strengths and appeals, and they each talked not just about the deal in hand but about helping to foster my career. In addition to the nitty-gritty provided in these conversations, two additional things in man reading contractparticular helped me decide: (1) looking over their sample contracts, which two of them provided without hesitation (the third doesn’t use contracts—which isn’t necessarily a dealbreaker—it’s just how some agents work), and (2) talking with other authors they represent, who generously shared with me their time, experiences, and perspectives. I’m sure I would have been in good, competent hands with any of these agents, but based on all of the information, my scale ultimately tipped in favor of my agent, Jessica Alvarez of BookEnds, LLC. Everything about her, about BookEnds, and about the authors Jessica represents, conveyed a sense of generosity and support and togetherness that really spoke to me, reinforcing the all the data I’d gathered. Those aren’t necessarily qualities everyone dreams of in their literary agent, but they were the key to the “right fit” for me. And I’ve been thrilled to work with Jessica and BookEnds ever since!

Looking back, it’s hard to believe all of that happened within, essentially, a week. And it’s been a dream ever since.  Working on edits; reviewing page proofs; seeing NEVER TOO LATE listed on Amazon, Barnes and Noble, and other e-booksellers; getting my first royalties statement—it’s all been breathtaking.

And it starts all over again with my next book, ALWAYS A STRANGER, for which I will likely receive edits this month! Wheeeeee!

This is the part that makes writing—all the hard work and fear and doubt—worth every second.

 

Thanks, Amara, and congratulations!

You can learn more about Amara Royce and her books on her website.  For more on my classes, please visit my Next Level website; and don’t forget to subscribe to this blog for irregular updates, writing tips, and real life stories from the publishing world. If you enjoyed this interview, there are lots more here, including chats with OUTLANDER author Diana Gabaldon, Simon & Schuster president Marysue Rucci, and literary agent Gail Hochman.

Completing the Circle: From Idea to Book to Audience

ElizabethLyon-fIf you’ve ever gone to a writers’ conference, chances are you’ve met Elizabeth Lyon. As the author of half a dozen widely-read guides to the craft and business of writing, including The Sell Your Novel Took Kit: Everything You Need to Know About Queries, Synopses, Marketing, and Breaking In and Nonfiction Book Proposals Anybody Can Write: How to Get a Contract and Advance Before Writing Your Book, she is in great demand as a workshop leader and presenter. I had the pleasure of getting to know her at the Surrey International Writers’ Conference near Vancouver, where we were both presenters, and having many interests and pursuits in common, we’ve stayed in touch and followed each other’s careers ever since.

Many of her books are about breaking into the publishing market. As a freelance editor, she  works hard to find agents for her editing clients. Her own books have been published by Perigree/Penguin.  So I was surprised to hear from Elizabeth recently that she’d self-published her latest book, WRITING SUBTEXT. In this interview, Elizabeth talks about why she made the switch. She also has some really smart, sensible advice for writers contemplating their options.

 

BR: After a career spent helping other writers get published, and having been commercially published yourself, you have now taken the plunge into self-publishing.  What led you to that decision?

EL: Actually, self-publishing is a homecoming. In 1980, I published my first book, Mabel: The Story of One Midwife, about a Ghana-born woman who “caught” my two children when I was doing the baby boom in Corvallis, Oregon. Handling all aspects of the book—interviewing, writing, editing, book production, and promotion gave me the publishing bug. It’s immensely satisfying to make all the decisions, feel all the responsibility, and earn all the rewards—or lack thereof.

No doubt, having a book accepted by a publisher is heady. When my agent, Meredith Bernstein, called with a four-book contract for writing books from Perigee/Penguin, I thought I had “arrived.”

“For everything there is a season.” When friends began “going indie,” with their e-books and POD (print on demand) books, they became my Sirens, calling me back to my roots.

 

BR: Many aspiring writers imagine doing what you’ve done, publishing multiple books with a major house like Penguin, as the height of aspiration. Why change a good thing?

EL: My editors at Penguin were and are highly skilled and lovely people. Yet, I’ve always been uncomfortable with corporate publishing policies that put most books on a conveyer belt. Most have a short life. Others, like my own, become slow backlist sellers.

While publishers don’t make giant profits, except from the mega bestselling authors, the standard publishing contract sucks. They are not written for fairness; they’re rigged for the publisher—in money and in rights.

The royalty in the contract is seldom what one receives. Almost all books are heavily discounted pushing the royalty rate to 5% of retail or even less. That’s 64 cents on a $14.95 paperback, subtracting my agent’s 15%. Publishers don’t promote non-best-selling books, and bookstores can’t possibly have midlist instructional books that span decades taking up shelf space.

I am grateful that I had that experience. I gained prestige and support for my teaching and editing work. My best publishing experience, however, was with Blue Heron Publishing, my first publisher. The owners, Linny and Dennis Stovall, nurtured writers and their careers and their publishing contract was modeled after one recommended by the National Writers Union.

 

BR: What have you learned from your venture into self-publishing that might be helpful to others contemplating that route?

EL: With “Writing Subtext,” my first booklet in a new series, I feel the weight of responsibility, which I’m also happy to have. I’m hyper-aware of accuracy, quality of content, and proofreading. That’s a good thing. I rely upon my critique group’s suggestions and corrections, perhaps even more so than in the past.

As I learned with my first book in 1980, there is a daunting number of skills to master when you DIY—“do it yourself,” including knowing when to job something out. I turned book cover design and digital formatting over to others who do those tasks well. With just a few hiccups requiring advice, I was able to upload my digital files and cover image files to Amazon, Barnes & Noble, and Kobo, for sale as e-books and to Amazon’s CreateSpace for print-on-demand.

pink elephantThe big pink elephant in the room for all writers who publish is promotion—reaching the targeted audience. If a writer is content with selling (or giving away) books to a circle of friends or family, that’s easy. But if a writer wants to build a name and following, and even make a part-time or full-time living, then book promotion skills will require as much time as writing and revising the book, and maybe more. Writers with money can hire publicists, and these days that means someone who knows how to use the Internet for book promotion in addition to more traditional publicity.

 

BR: If an aspiring writer asked for your advice on whether to self-publish or to seek an agent and try to get published commercially, what would you answer and why? Would your advice differ for fiction and non-fiction writers?

EL: My answer is the same for fiction or nonfiction writers: What is your dream? Most writers I know, and who come to me for editing, would like to see their books published in a traditional way, whether with a large publisher or a small press. I call this Plan A. The possibility of acceptance is slim. My job, however, is to support, help, and encourage any writer with a Plan A dream. Some do succeed. Realistically, novelists (and memoir writers) typically underestimate the amount of revision needed to reach a polished and professional book. Often it will be a 3rd or 4th novel that will be well enough written to succeed with Plan A.

Writers of other forms of nonfiction may reach the high bar of outstanding writing and a unique book that contributes to the literature. However, to fulfill Plan A, these writers face expectations of a strong author platform. Platform refers to how broadly a writer is known and whether he or she can guarantee strong sales through ambitious actions such as speeches, workshops, interviews, book signings, blogging, and other Internet-related promotion. Most nonfiction book writers either have to stop marketing and build that platform or move to Plan B.

Plan B recalibrates the GPS to a small, specialty, or regional press. For instance, I’ve had one editing client whose novel was published by an LGBT press. A health and medical press published a client’s nonfiction book. But all too many unpublished writers receive offers of publication from companies that are essentially print-on-demand publishers who, like the vanity publishers of old, make the writer feel as if the book is “acquired.” I always caution about these offers because there may be smoke and mirrors. In these situations, the writer can self-publish with more rewards in all ways.

Plan C is self-publishing. The long-ago stigma over “vanity publishing” is mostly gone. Producing a book with new technologies is now easy and inexpensive. For some writers, Plan C is their Plan A.

I’ve always believed that all writers deserve to complete the circle—from idea to book to audience.

 

BR: Positing a reasonable facility for writing, what other abilities does a writer need to make a success of self-publishing?

EL: Every self-published writer has to decide how to quantify or qualify success. I’ve worked with writers for whom a dozen copies given to friends and family constitutes success. Memoir writers, for instance, may be writing to leave a legacy as well as to reach other people who have experienced something similar to what they have.

When a book is well-written, it stands a chance of word-of-mouth recommendation, which is the most potent form of sales. Readers buy books that are recommended and books written by authors they have heard of. For the self-published author, there is typically no access to distribution, to bookstores, beyond being listed or having a page in an online bookstore. The good news is that online book sales continue to expand.

Writers seeking a large audience must devote regular time to promotion, and to the degree the writer is comfortable, learning the ropes of the Internet, and pursuing opportunities for talks, book fairs, and any face-to-face sales.

I should have said earlier that most self-published books could have benefited from more development and revision. And everyone who self-publishes should seek professional line editing or memorize The Chicago Manual of Style. I also recommend asking three eagle-eye, grammar- and punctuation- smart friends to do final proofreading.

 

BR: The e-book revolution has already changed publishing profoundly, in part by leveling the distribution playing field for self-publishers. Would you venture an informed guess on the future of publishing as we know it?Crystal_Ball

EL: People will continue to buy books for their e-readers or tablets, in ever-greater numbers. Instant gratification, the impulse buy, is not only going to increase readers but it favors the self-publisher. Our price points are typically lower, much lower, than traditional publishers. In that sense we are more competitive.

Many types of books are not presently suited for electronic format, although that hurdle is sure to be overcome. Even so, I can’t envision books featuring art and photography, for instance, offering sustained pleasure in any other form but paper. Any book that invites consideration, a chance to grasp a whole, to flip pages back and forth should if not will be preferred in paper.

Yet, my opinions may be a function of living six decades plus. When books owned in most households are few, libraries are Red Box outlets, or an aisle of Office Depot, the mega conglomerate publishing industry may no longer exist as it is.

 

BR: What is your new book about, and where can readers find it?

WritingSubtext-variation21AFINALEL: My newest work is “Writing Subtext,” a booklet of 50 pages available in paper at CreateSpace/Amazon and as an e-book for Kindle, Nook, and Kobo. “Writing Subtext” is the first booklet in a series that features one technique or topic at a time. Subtext is a subtle, often confusing concept and technique. Writing it, developing it in revision, makes all the difference in boosting suspense, deepening characterization, and supporting theme. I consider it one of the “super techniques.”

My next booklet will be “Crafting Titles.” On first blush, choosing a title for a book seems easy. I’ve seldom had an editing client or writing friend who hasn’t struggled to find the best title. So much goes into the choice.

 

Thanks so much for a really informative interview, Elizabeth.  With so much hyperbole on both sides of the publish/self-publish divide, it’s a pleasure hearing and sharing your balanced  take on the topic. Writers looking for a first-rate editor can contact Elizabeth through her website.

 

If you enjoyed this interview and want more like it, please subscribe through the link on the top right. Lately In Cold Ink has been overrun with news about my new release with Viking Books, A DANGEROUS FICTION,  and I guess that’s forgivable, seeing as my new books come around as often as cicadas. But as you can see, I’m slowly getting back to my usual subjects:  writing and publishing.  

That said, I do want to thank  Book Page for its wonderful review of A DANGEROUS FICTION, which they pronounced “a thoroughly entertaining and engaging mystery,” and to Zan Marie Steadham for the interview on her engaging blog.  If you’re looking for little frisson in the last hot days of summer, I hope you’ll give it a read.

 

Two Cover Reveals

Print books have tragically short lives, much shorter than butterflies.  They are born, they appear for a short while in bookstores, and a few weeks later, unsold copies are sent back to the publisher. Eventually unsold stock is released as remainders, and once those are gone–sold or pulped–the book is out of print.  Only the most popular and fortunate of writers had the pleasure of seeing all their work in print at the same time. Readers lost out, too, when they couldn’t find backlist books of writers they enjoyed.

The advent of ebooks and POD has changed all that, to the great benefit of writers and readers alike. I’ve already had the pleasure of seeing my three last books, SUSPICION, HINDSIGHT, and ROWING IN EDEN,  reissued by Simon & Schuster  in those formats. Today I am delighted to announce that two more books will soon join their ranks. CAFE NEVO and SAVING GRACE  were my second and third novels. Both were wonderfully reviewed when they first came out, and I’m thrilled that they’ll now have the chance to find new readers.

In a few days I’ll let you know the exact pub date, but it won’t be long now. For the moment, I’m very happy to share my new covers, both illustrated and designed by Gale Haut.

 

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“A wonderful novel…vivid…unforgettable.”-San Francisco Chronicle

“From the very first line of CAFÉ NEVO we are in the hands of a real storyteller. Barbara Rogan writes with compelling grace.”-Alice Hoffman

“Indeed a wonderful novel…with richly developed characters acting and interacting… the café and its clients will long remain in memory.”-Madeleine L’Engle

 

And here’s the cover for SAVING GRACE:

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“What “Bonfire of the Vanities” tried to be.”-Library Journal

“Intelligent, absorbing…sheer enjoyment.”-Publishers Weekly

What do you think? Do these covers make you want to pick up the book and browse? What do they say about the books?

 

Next week, I’ll be posting Part I of a fascinating interview with the wonderful Diana Gabaldon, bestselling author of the Outlander series. This is not to be missed, so you might want to sign onto the RLS feed or subscribe via email through the links to your right.

The Third Way

 

It’s always nice for a writing teacher when her students go forth and publish. Tiffany Allee didn’t even wait for class to end. She was in the middle of one of my Next Level courses when she got her first offer of publication. The fact that she sold her work did not come as a surprise (I’d read it), but the speed of her success was startling. One year later, she has three novellas in print and, I believe, a full-length novel in the works.

 In this blog, we had several interesting discussions about the merits of trade publishing versus self-publishing. But there is a third way, one that takes advantage of the digital revolution but doesn’t place the whole burden of publishing on the writer, and that’s the way Tiffany Allee chose. I’ll let her tell you about it in today’s guest blog.


From the desk of Tiffany Allee:

 

During the last few years, writers have argued the merits of commercial versus self-publishing. There are strong lines of division, with (I think) most writers seeing the potential good aspects of both methods.

My road to publication has been a little different. I’m not published with a big New York publisher, although that is definitely something I will be pursuing in the future. But I’m also not self-published. I’ve gone another route, which is to publish with smaller publishers that concentrate on the digital market.

Keep in mind while reading this post that my experience is just that, my experience.

 

The Beginning

The first writing project I finished (beyond a short story here and there in college classes) was a novel I wrote mainly during NaNoWriMo in 2010. It wasn’t the best novel in the world, but it gave me confidence that I could finish a novel—a first draft of one, anyway. It had a beginning, a middle, and an end. And it all sort of worked together into a fairly cohesive story.

But I knew that before I could fix that story—never mind writing something better—that I really needed to concentrate on important craft skills. Doing that while working on a 90k word novel was daunting. So I decided to write shorter—novellas.

The Problem

Novellas proved to be a wonderful way to learn (and they’re quite addictive). I was able to pick up critique partners to help me even more. I also took a fabulous online workshop with our host here today, Barbara Rogan, that really helped me to build a revision process.

But then, when I had a couple of shiny novellas on my hands, I wasn’t sure what to do with them. Novellas don’t generally sell to traditional publishers, and I wasn’t confident enough in my abilities to self-publish. I needed someone in a professional capacity to agree with me that the works were good enough before I would be willing to put them out there.

After researching digital-focused publishers, and submitting to a few of them, I found homes for my novellas.

But…Do They Edit?

Something I’ve seen touted out there in reference to publishers, especially digital ones, is that they don’t edit. Well, I can say that’s not the experience that I’ve had with any of my publishers.

While the process varies from publisher to publisher, I can speak to what I have seen. I’ve published most of my work through Entangled Publishing, so I’ll focus on my experience with their process here. It is quite similar to what I’ve heard about and seen elsewhere.

Entangled uses what I’ve heard referred to as a three-step editing process, meaning that a book goes through at least three rounds of edits prior to copyediting. Each of these rounds may actually involve more than one exchange of the MS between editor and author, particularly the first round.

Starting with an edit letter detailing content or big picture edits, and ending with line edits, the editing process can be very involved. While an author can push back on some of these suggestions (and I have, on a couple of things here and there), these changes are what bring the story to the next level.

Whew.

And it’s still not done. Then the story goes to the copyeditor. Again back to the author for change approval. Then galleys come out and the author and editor both comb through the story to make sure nothing has slipped through the cracks.

Now that’s a process that would be very difficult to replicate for a self-publishing author. And I suspect that it’s on a level similar to the bigger publishers out there. I don’t know that all digital or small publishers processes are quite so thorough, but that’s one reason why researching the right place to submit to is so important.

At every step in the process, I have never been short of stunned at the level of professionalism I have seen, and the sheer editorial talent that my stories have benefited from.

The Good Stuff

There are definite advantages of going through a smaller publisher, especially one with a digital focus.

Length: Although accepted lengths vary by publisher, they are almost always more lenient than your average NYC house. I’ve seen acceptable ranges from 5k to 120k, and everything in between.

Royalty Rates: Royalty rates with digital publishers tend to be much higher than at NYC publishers, particularly for ebooks.

Timelines: It is feasible for an author to see his or her book published within a year of submission. This isn’t usually possible in the agent to big house route. I will say that wait times on submissions aren’t fast by the definition I would have had prior to learning about the publishing industry, but waiting only a few months on a submission is quick in this world.

Editing, Cover Art, and Marketing: I’m listing these as an advantage, not over a NYC house, but over attempting to self-publish. Cover art is expensive. Good editors are expensive. Marketing is…you guessed it, expensive. And cutting corners in any of these areas is a good way to make sure no one ever hears about your book, let alone reads it.

Promotion: The type of promotion you get varies by publisher, but most excel at guiding their authors on what to do themselves to promote (and it’s a far more complex process than one might think). I have been lucky with Entangled because they provide me with a publicist who helps get my name out there, and who schedules blog tours and promotions for me. I can’t tell you what a timesaver that is.

The Not-So Good Stuff

Advances: Few digital houses offer advances. Most who do offer advances that just aren’t comparable to big houses.

Cover Art and Marketing: Larger commercial publishers may have larger budgets for marketing and cover art.

Distribution: Larger publishers also have distribution networks that not all smaller or digital publishers can compete with. And the importance of shelving books where readers can see them cannot be minimized. It’s huge. (I should also add that some of the larger digital publishers do have excellent distribution in place, and their print lines can be found in bookstores.)

Self-publishing: Pubbing yourself will still offer higher royalties, faster timelines, and even more flexibility with length and genre than a digital publisher. Of course, this comes with a lot of additional cost and risk.

Things to Keep in Mind

 Research is your best friend when looking at any publisher or agent. Check online at reputable sites. My favorite site to start researching is the Absolute Write forum. Keep in mind what is important to you in a publisher, and what your expectations are. Talk to other writers. Look at things like sales, publisher reputation, and the backgrounds of the individuals behind the publishing company.

For example, if you want to see your book actually shelved at the Barnes & Noble by your house, you’ll probably want to look at the traditional agent to big publisher route, or to the print lines at Samhain, Entangled, or other smaller publishers whose distribution might make that possible.

While smaller and digital publishers may have higher acceptance rates than some bigger houses, they’re still not easy to break into. Most of the more established ones who sell well have acceptance rates well below five percent. So you still have to make sure to put your best foot forward when querying.

Some genres sell better through digital publishing. There is no question that romance and erotica sell better than other genres, likely in part because some of the pioneers of the digital industry were romance and erotica publishers. But other genres are becoming more common. Publishers like Carina put out all sorts of genres and do not require romantic elements in what they publish. Samhain now has a horror line. Digital publishers of non-romance genres may be more difficult to find, but they are out there.

In Closing…

Digital titles are becoming very popular. My own publisher has had wonderful success, as have others, with multiple titles hitting the New York Times and USA Today lists.

I can say that I am extremely happy. Not only have I learned so much more than I can communicate via a single blog post from my editors and my publicists, but I feel like my stories have only benefited from the brilliant people who I have worked with along the way.

 

Thanks, Tiffany! I think it’s important to remember that the Big Six are not the only game in town, nor is self-publishing the only alternative. Writers have more choices today than ever before.

Tiffany’s books are very fun reads in the paranormal genre, original and well-written. I hope you’ll give them a read.