Why Authors Choose to Self-Publish

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Most authors walk a financial tightrope. 

Hey, don't take my word for it. In a September 2015 an article on a recent Authors Guild survey of its members' incomes,  Publishers Weekly put it this way:

 

Authors Guild Survey quote

Yikes.

Thank goodness for self-publishing. It saved my career, and those of many other authors I know.

Even with four novels (one optioned for television) and two-nonfiction books published traditionally, as early as 2010 I'd dipped my toe into the choppy waves of self-publishing. My subsequent success with it is why I now self-publish exclusively.

Whereas self-publishing has grown by leaps and bounds in the past ten years, ours wasn't the first generation to discover its financial rewards. Jane Austen, Emily Dickinson, Marcel Proust, and Walt Whitman self-published their books. Misery loves great company indeed.

But before self-publishing became a financially viable option for the current generation of writers, traditional publishing—that is to say, print books, primarily by one of the Big Five New York publishing houses—was the only venue for the sale and distribution of books. Even ten years ago, the thing authors love to do most—write novels—was not possible without running an unwieldy gauntlet that put their manuscripts in front of any literary agency that might deem the book sellable to a publisher, and any publishing house editor who might actually like it enough to purchase it. 

Besides editing, printing, and distributing a book, part of the publisher's job is also to promote it. For doing so  the publisher holds on to anywhere from 80-92 percent of the book's retail price.

(Yep, some authors get only an 8 percent royalty. Worse yet, royalties are paid twice yearly, and they are only paid if their books "earn out"—that is, return any advance paid, which may not happen for years if at all, what with the other variables tied to this equation, including book returns, of which there are no cut-offs; and perhaps the payback of advances of other books as well.)

Sadly, in traditional publishing, marketing is the last consideration—never the first—when purchasing a book from an author. Compared to other products as a whole—and entertainment products in particular, including films, music, magazines, and video games—it gets a negligible budget, if any at all.

Steve Hamilton Publishers WeeklyDon't take my word for it.  In this article regarding the breakup between bestselling thriller writer Steve Hamilton and his former publishing house, St. Martin's Press, Publishers Weekly outs its industry's dirty little secret: there is no there, there:

 A book can be beautifully written, have scintillating dialogue and a page-turning plot. But without the adequate marketing and promotion that puts it in front of a targeted audience, a book is as dead as a beached whale. 

At this point in time, most Authors Guild members are traditionally published. Coupled with the Hamilton/SMP breakup, the Authors Guild survey certainly makes an excellent case for the guild to reconsider what it must do to protect its members. For example, the guild—along with literary agents and intellectual property attorneys—should insist that any publishing contract contain clauses that:

(a) Succinctly spell out a yearly quantitative financial base for the book, with instant reversion to the author if not met. Right now, most publishing contracts hold onto rights forever, under the assumption that digital distribution means that a book never goes out of print.

(b) Outline an advertising budget, tied to an actual, very specific media plan for the marketing of the book—at least for the first full year in print—and allow for immediate reversion of rights if there is no follow-through.

Is it any wonder that hybrid authors—that is to say, those authors who have been published traditionally, but then, like me, elected to publish their books independently of a publishing house—are a growing breed? Of course not. Like everyone else, authors have to eat. They have to pay rents and mortgages. They raise children, and pay for health insurance, taxes, and all the other expenses that come with being self-employed.

I personally know many hybrid authors. Under the traditional publishing model, their advances and sales shrunk along with the demise of both chain bookstores, and the winnowing of independent brick-and-mortar bookstores in the most recent recession. Several of these authors were at the brink of financial disaster (homes soon to be repossessed, couch-surfing, near bankruptcy) when they made the decision to walk away from traditional publishing contracts. After doing so, they rolled up their shirtsleeves and did what they had to do to self-publish: write good books; have their books professionally edited and digitally converted; distribute their books—primarily as eBooks.

The successful one know they must also promote their books.

The good news for their readers: the books are priced lower than their offerings still distributed by their traditional publishers. 

The great news for these authors: now that they retain 70 percent of the book's retail price, they are making a sustainable living for themselves and their families.

Some are doing better than that, having already sold millions of books since starting this journey. Sylvia DayBarbara Freethy, Stephanie Bond,  Bella Andre, and Kate Perry are perfect examples of hybrid authors who took advantage of the changing bookselling marketplace to not just survive, but to thrive. And whereas Ms. Day, Ms. Andre and Ms. Bond still have one foot in traditional publishing, Ms. Freethy and Ms. Perry are in total control of every facet of their books' design, distribution and promotion. 

Another hybrid author who made the leap to indie publishing and never looked back was thriller novelist Barry Eisler. Recently, I had the opportunity to interview him for the International Thriller Writers Organization's e-zine, "The Big Thrill." Some of what Barry says regarding the advantages of self-publishing versus traditional publishing can be found in the article linked here.

However, some of our Q&A was cut. Since the questions are relevant to this post's topic, I've included them here:

JB: If there were one (or two, or three) things you could change about the publishing industry and the novelist’s role within it, what would it be?

BE: The first thing I’d like to change is the popular perception that organizations like the Authors Guild and Authors United primarily represent authors rather than establishment publishers. I have no problem with organizations advocating for publisher interests, but the dishonest way in which the AG and AU go about their publishing industry advocacy misleads a lot of authors. I could go on at length about this topic and in fact I have—so for anyone who wants to better understand the real agenda and function of these “author” organizations, I’d recommend starting with this article I wrote for Techdirt, Authors Guilded, United, and Representing…Not Authors.

JB: But isn’t it true that the AG speaks out on various topics of concern to authors, like unconscionable contract terms?

BE: Hah, the AG going after publishers is like Hillary Clinton going after Wall Street. I’ve had a lot to say about this, including thecomments I wrote in response to this post at The Passive Voice.For anyone who’s curious, just search for my name and you’ll find the comments, the gist of which is, when the AG wants to accomplish something, it names names and litigates; when it wants authors to think it’s trying to accomplish something but in fact isn’t (or, more accurately, when what it’s trying to accomplish is maintenance of the publishing status quo), it talks.

When the AG talks, it’s a head fake. The body language is what to look for in determining the organization’s actual allegiances and priorities.

Another thing I’d like to change is the generally abysmal level of legacy publisher performance in what at least in theory are legacy publisher core competencies. Whether it’s cover design, the bio, or fundamental principles of marketing, legacy publishers are content with a level of mediocrity that would be an embarrassment in any other industry. I’ve seen little ability within legacy publishing companies to distill principles from fact patterns (particularly patterns involving failures) and then apply those principles in new circumstances. Institutional memory and the transmission of institutional knowledge and experience are notably weak in the culture of the Big Five. My guess is that the weakness is a byproduct of insularity and complacency brought on by a lack of competition.

JB: Agreed. Having spent fifteen years in advertising before becoming a novelist, I was abhorred as to what passed for “marketing and promotion.

BE: I'd also like to increase awareness of the danger a publishing monopoly represents to the interests of authors and readers. No, I’m not talking about Amazon; “Amazon is a Monopoly!” is a canard and a bogeyman. I’m talking about the real, longstanding monopoly in publishing (or call is a quasi-monopoly, or a cartel), which is the insular, incestuous New York Big Five. An important clue about the nature of the organization is right there in the name, no? See also the Seven Sisters

Okay, another thing (and then I’ll stop because I could go on about this stuff forever): I’d like to see more choices for authors; new means by which authors can reach a mass market of readers; and greater diversity in titles and lower prices for readers.

Wait, that last set of wishes is already happening, courtesy of self-publishing and Amazon publishing—the first real competition the Big Five has ever seen, and a boon to the health of the whole publishing ecosystem.

Hybrid author success stories are now numerous. As author advocate Jane Friedman's wonderful blog points out,  Claire Cook, Harry Bingham, and William Kowalski are just a few other examples of hybrid authors who made the leap and never looked back.

Products are created from a perceived need. Industries are created by providing sales and distribution venues for products.

But sometimes how the product is distributed changes also how the product is purchased by its consumers. 

Books—in whatever form they take—will always be needed. They entertain, they provoke thought, they provide knowledge.

In publishing, books are the products. Still, how books are distributed and sold doesn't change how they are made: by authors with the perseverance to write a good story, and then do what they can to find readers who will fall in love with it. 

 

Like Mr. Kowalski, Ms. Cook, and Mr. Bingham, I love what I do. Now that 2015 has come to an end, I now know that all my hard work toward creation and release of the my latest four books and a novella (The Housewife Assassin's Garden of Deadly Delights, The Housewife Assassin's Tips for Weddings, Weapons, and Warfare, The Housewife Assassin's Husband Hunting Hints, Totlandia Book 5, and Gone with the Body) was worth it.

It is confirmed by my bookstore royalties. More importantly, it is substantiated by the many kind comments received from my supportive readers. 

Thank you, readers, for taking a chance on me, loving my characters, and chatting up my books with others who they felt might enjoy them, too. 

Here's to a wonderful new year filled with more great stories from your favorite authors.

—Josie

 

What writers should do when they are in the 99% (of publishing’s many norms): stay in the game.

Sfarwabook[1]Because of a very fortunate turn of events this year in my writing career, I was asked to speak to other authors who had been my support system in the ups and downs of my 7-year career: the San Francisco chapter of the Romance Writers of America. This group is filled with an even mix of aspiriting and already published successful writers, all of whom have been there for each other with inspiring words, great advice, and a shoulder to cry on.

Yes, it was my turn to give back.

Here's what I told them (in the few moments when I wasn't dithering off-topic, on such things as house renovations from hell, book promotion, instore co-op and other necessary evils of success for the chosen few–

But then caffeine on a belly of oatmeal will do that to you. Next time: fill the ol' belly with pancakes first. Oh yeah: and look at your notes every once in a while…)

_____________________________________

The year 2011 did not start out well for me. I was one of many midlist authors who had a novel under contract  with publishing house, but then it was dropped as part of a loss-saving attempt in light of the Borders bankruptcy.

I made sure that my own private pity party was short and bittersweet, then turned my attention on promoting the novel which was due out in April. I was proud of the buzz I'd already built prior to its release, which turned into a 10-market tour hosted by women who had the same career as Katie, the heroine in my book The Baby Planner.

As far as my editor was concerned, it paid off — enough for her to ask me to lunch. As we nibbled lady-sized salads at the Bergdorf-Goodman Restaurant high over Central Park, she asked, "So what can I see next?"

This is why it's always a smart idea to promote promote promote your books, no matter what your publishing house is (or isn't) doing for it.

Knowing that you need to publish or perish, I was also smart enough to take the great advice of my writer pal, Bella Andre, who has hit it out of the park indie-pub'ing her re-acquired backlist and some new books. She convinced me that a novel which had had four editors salivating for it- (until it got shot down in committee) was the perfect test for me to indie-publish. The first book in that series, The Housewife Assassin's Handbook, is out now.

Thus far I'm loving the sales. The second in the series, The Houswife Assassin's Guide to Gracious Killing will be out by the end of the month. So yes, authors: Independent publishing is one way to watch your orphans thrive.

Writing novels is not for the faint of heart. I truly believe you need a wonderful agent to match you with the right editor: someone loves your writer's voice and your story, and wants to help make it the best book possible before showing it to the world.

But even a great agent and a superlative editor can't do the one thing that keeps an author writing for a living wage. For that, you need a legion of readers who fall in love with your characters, and wants to see more of them, and of you.

Thanks to my wonderful agent, Holly Root, who saw the potential in my books to translate into different media, my novels were shown to a talent agency which felt that they did indeed have the potential to be adapted into movies or as a TV series.

Secret Lives400Well, they were right. One of Hollywood biggest producers, Jerry Bruckheimer, has optioned one of my books, Secret Lives of Husbands and Wives, for a television show that will run on ABC.

So yes: this year has been a rollercoaster. But I was one of the lucky ones.

I'm making  a living wage as a writer.

These readers are out there. I know authors who exhaust themselves trying to find them: touring, social networking, responding to comments and emails.

I strongly feel that, with the changes that are occuring in the distribution of books — the surge of online book sales, coupled with the decline in the number of brick-and-mortar bookstores, not to mention the number of books they take on — will also change the role of publishers:

They will have to  get more agressive — and smarter — in how they promote the books they publish.

I have no doubt that they will soon publish less authors. But in order to thrive, they'll have to make the books they do publish as profitable as possible. This means focusing on marketing and promotion as well as distribution. They need to recognize niche markets for specific authors and their books, and court them…

Something that authors do, now, for themselves…if they're smart.

And could to even better if they had the financial resources and personpower of their pub houses.

Every author writing for that imprint is a brand.

Every book is a product under that brand.

This is, simply, Marketing 101.

Which brings me to you, the author:

If you're a writer, be prepared to spend most of your career in the 99 percent.

Everyone in this room writes, because we must write. This need to write comes from the depth of our souls.

Ninety-nine percent of the world doesn't have this desire. (Thank gawd! Aren't there already enough of us, in this very competitive field?)

So, consider yourself in the one percent.

Already, I applaud you.

A reality we all know: ninety-nine percent of aspiring writers will not get published by a New York publishing house. All the more reason I want to applaud the many I see this room who have made it into the one percent who have been traditionally published.

Of all traditionally published writers, how many have been able — or will be able – to make writing a fully-fledged career that pays the bills and puts food on the table? How many will still be published ten or twenty years from now?

I'm guessing that number is closer to one percent than 99 percent.

And of those who are lucky enough to make writing their vocation as well as their avocation, I'm guessing that 99 percent of them will never have the joy of learning that their book has been optioned and produced in an entertainment medium, such as film or television.

But here's the thing: If you ever want to be in THE 1 PERCENT (of the 1 percent who write; of the 1 percent who get an agent; of the one percent who get a publishing contract; of the 1 percent who can make a living writing; of the one percent who may enjoy watching their characters come alive in the small screen or the silver screen) you have to stay in the game.

You have to write.

Afterward, you have to edit, and re-edit, and edit again, until your manuscript is a page-turner.

Then you have to query a large, well-researched list of agents with your manuscript.

Once you get that agent, you have to to listen to him or her as to what else has to be done to it so that s/he will be enthusiastic when it is sent out to editors (remember: agents work on a commission, so they don't get paid until your book sells; they are putting sweat equity in you as well).

And once your book is published, you have to promote it.

And you have to write more books.

So, yeah: writing is the easy part.

Staying in the game is the hard part.

Last. Author. Standing.

 – Josie

(c) 2011 Josie Brown. All rights reserved.

The top photo is the book cover for Writing Romance: The Ultimate Guide on Craft, Creation and Industry Connections, which is published by the San Francisco Chapter of the Romance Writers of America

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