Tag Archives: Publishing

What Do We Know?

Over the years contributors and many commentators have shared their experiences, observations, and advice on this blog. I thought perhaps it might be a nice idea to bring it all together for the sake of anyone new to self-publishing who might find their way here – useful, practical experiences and advice from writers who’ve been at it for a while, i.e. people who know what they’re doing. Of course we do.

So what have we learned during our self-publishing journey? What would we do differently today if we could roll back the clock and start over? Any major regrets?

And having asked the question, I suppose it’s up to me to get the ball rolling.

I don’t have any major regrets. I made mistakes, but that’s part of learning.

Self-publishing was all I considered in 2015, at the age of 65, and I chose readership over pocket change. No regrets. I’m not a goal oriented fellow, so I’m mostly surprised at the 20 books I’ve written, and with my sales. Still, they’re never enough, are they?

My major mistake was not recognizing how careless I am as a writer and how special being able to proofread reliably is. I learned this the hard way. I am amazed that with half a dozen volunteer beta/proofreaders, how little overlap there is between the lists of typos I receive back from them. Luckily in self-publishing you can upload corrected copies as needed. My first books were re-uploaded a lot.

I’ve also learned that on-line grammar correcting software can’t be fully trusted yet. But it definitely makes the job of my beta readers a whole lot easier. It is now part of my process.

I’ve always written the way words and stories come naturally to me. I’ve read writing advice pieces just to sneer at them. I never use five words where ten will do, if they add personality. I never kill my babies. This seems to work for me.

I’ve tried different covers on most of my books over the years, and never found any difference in sales. I use a uniform cover design for my book covers as my distinctive “brand.”

I’ve learned never to write sequels unless the first one is a runaway best seller, since each subsequent book sells fewer copies than the one before it. Going forward it’s all stand alone books, with open endings. On the off chance.

I’ve learned that visibility, and perhaps visibility alone is the key to sales. I don’t know how to get it. I’ve never spent any money or effort marketing my books, leaving that aspect entirely to the free price of my books. That’s worked well for me. The cool kids are all into social media in order to create the visibility and buzz needed to sell their books. Maybe it works. Anything is possible.

Lots of people read books on their phones. Make sure your books are on platforms that serve books to phones – Apple & Google. Google has been a gold mine for me, I think for that reason.

Ebooks/audiobooks reach a world-wide market on a number of platforms. A lot of people in the world read English. The more affordable your books are, the wider their potential reach outside of the US is.

Audiobooks now account for between one third and one half of my free sales. $3.99 auto-generated audiobooks on Amazon/Audible haven’t sold for me.

Selling ebooks, even free ones, has grown harder every year. The market is consolidating around a relatively few sub-genre and best selling writers who monopolize the hype. If you’ a’re serious about making money, see below. But if you don’t believe me, do your research thoroughly. Write what sells.

Self-publishing is not a viable business, unless you count buying lottery tickets as a viable business. The odds of winning are about the same. Lottery payouts are far bigger. Just say’n.

I’ve learned that being a writer isn’t likely to impress anyone, if only because most people don’t read much. If you want to be famous and respected, get very rich.

I’ve found a nice community here to share my thoughts with and be part of. A definite big plus.

Your turn.

Solo or Ensemble?

Many forms of art can be practiced either solo or in a creative ensemble. A pianist can play piano solo, in a trio, or in an orchestra. Dancers can dance solo, as a couple, or in a group, as can singers. However, some forms of art, like fine art painting, sculpture, and the like, are usually solo efforts. Movies, TV shows, and plays on the other hand are almost always ensemble creations. So where does writing fit in?

Traditionally published books can be said to be ensemble work since traditionally published books go through an extensive development process, which these days, may start with re-writes requested by the agent even before the work is offered to publishers. Once the book is purchased by a publisher, a team of editors, artists, designers, and publicists , go to work to make the work as commercially appealing as possible.

Because all these publishing house contributions are anonymous, it is hard to say how much of the final shape of the story they have contributed, but judging from the praise authors often give to their agents and editors, (which I’m certain is not a symptom of Stockholm Syndrome) as well as a page or two worth of credit to others who have helped them write the work, one has to wonder just how much of the initial form and words of the story end up on the cutting room floor. Indeed, one gets the impression that if publishing was like music, the book cover would read “Author X and the Z Publishing House Book Staff.”

Which brings us around to self-publishing. One would think that the name itself – self-publishing – would tell you what’s going on in this type of publishing. I suspect that once upon a time, it was actually a true description. Those days may be long gone. My impression is that a more accurate term these days would be “self-financed publishing,” since it seems that a traditional publishing mindset is taking hold in the self-publishing world. While I am sure that self-publishing authors have long sought feedback from other people, and the assurance that they wouldn’t be making a fool of themselves if they published their story, these days it seems that self-publishing authors are expected to employ as many professionals as they can afford to publish their work. All of which makes the only difference between traditional publishing and self-publishing being who pays the wages of all the various professionals involved in producing the book, even as traditional publishers are shedding editors and other staff positions.

This trend annoys me in self-publishing. Especially the case for hiring developmental editors in self-published works. But on reflection, I believe that is because of my particular view of art, arising out of both as a painter and from my age. I started writing all of my published works after the age of 60, when I had read close to two thousand books and knew what I wanted in a story. Thinking about it however, I realize that for writers thirty or more years younger and less read than me, a case can be made for using editors to help these writers find their way, and in a lot less time than it took me.

That said, while I have no issues with writing as an ensemble art form, it simply isn’t my ideal of art. I view my stories like I do my paintings, which is to say a unique expression of me. I want to tell my story, my way. I think it works. I know from my experience in painting that all art finds its audience. The only question is how large of an audience it will find. In art, size doesn’t matter. While iIt does matter if we’re talking about creating a product, as art, no.

And by the same token, I embraced the whole process of “publishing.” As a painter, though not an illustrator, I could nevertheless produce some sort of cover. I also worked in the printing business, so I had an understanding of the requirements for print books. Where I lack the ability – I can’t spell and I’m far too careless and blind in proofreading – I found much-need help with volunteer beta readers. In addition, I’ve been exploring other options to help me produce better books, like adding on-line grammar checkers to my process. All of which is to say, I have pursued both my writings and my publishing, as solo art. And for the same reason – I want my art to be mine. And mine alone.

As I said at the top, I’m not against writing as an ensemble art. It may be necessary for commercial products, though with only a 33% success rate, and that 33% due in no small amount to the promotional budget of a book, one has to wonder just how essential certain aspects of it are. So for me, writing as a solo art is the most authentic form of writing. Which is why I love self-publishing.

Still, where do you guys land on this topic? Are you all in on the traditional publishing method, feeling that it produces a superior outcome? Or are you all in the do everything yourself camp? Or somewhere in the wish-y-washy middle? How much input do you need and use from other people to (re)shape your story? How much of the story do you think this input contributes? As someone who has the mindset that “here’s my work, warts and all, like it or lump it,” I’m curious to hear the viewpoint of writers who are perhaps more of a perfectionist than I am, or who are more open to embracing the cooperative approach, readily incorporating into their work the ideas of alpha, beta readers, and editors.

Failure’s Freedom

“If you ain’t got nothing, you’ve got nothing to lose.” Like a Rolling Stone – Bob Dylan

Those two lines from Like a Rolling Stone are an anthem for me. I sing them along with Bob every time the tune comes up in my “Liked Music” playlist. I love the insight into freedom they imply. I think they could, and should, be the anthem of the vast majority of author/indie publishers as well. Them’s that aren’t making money at it. With nothing to lose, we’ve the freedom to write exactly what we want to write, how we want to write it. In short, it allows us to;

“Be yourself, no matter what they say.” An Englishman in New York – Sting

Stories are art. They’re also a consumer product, so it’s understandable that we’re tempted to write the stories we think – or hope – readers will buy and enjoy. But if you’ve been publishing stories for any length of time, you know that discovery – merely giving potential readers the opportunity to choose to read your book – is an almost insurmountable barrier to finding readers, and thus, commercial success. So, given the near virtual certainty of commercial failure, unless you’re a social media celebrity or a well heeled and wily entrepreneur, we author/publishers can safely ignore commercial considerations and simply write stories that appeal to us. We can create pure art, art as a unique expression of our creativity, and then publish it for the rare reader who somehow stumbles upon it and appreciates our vision. Their numbers don’t count, though I should point out that every popular genre, sub-genre, trope, and story beat was once a unique and original expression of some author. We’ve nothing to lose by swinging for the fence.

I should also point out that author/publishers can be in a unique position in the publishing world, in that we can actually publish our undiluted vision. In traditional publishing, authors are not trusted to publish the books they write. Books in traditional publishing, and even in indie-publishing these days, if you listen to the experts, are ensemble creations, co-produced with the help of various editors who work to make it better than the writer’s original version. And since these books are definitely commercial products, “better” probably means more salable. Some, maybe even most authors, appreciate this help – in the various acknowledgments at the end of books, they often give a great deal of credit to their editor. Stockholm syndrome perhaps? But as an author/publisher we can, if we’re brave enough, publish our work in its pure form. We can be ourselves, no matter what – any editor – might say.

Still, you’re likely thinking, we must consider the readers. What readers? Well, to be less snarky, let me rephrase that to say that, we should trust readers. All we owe them is an honest blurb, a sample of our writing, and the best book we can write. We need not concern ourselves with their tastes and expectations. We needn’t worry if they’ll like it or not. If I learned one thing in art, it is that someone somewhere will always appreciate anything. There’ll be readers who will like any story we write. And if we write a book that pleases us, we can at least be certain it pleases someone. A bullet dodged.

Given the steep odds against any commercial success, it seems to me that following our unique vision, without compromise, is actually the wisest course to follow. With nothing to lose, why not?

Of course you all do that already, right?

Social Media. Do We Really Need It?

— Mark Paxson

When I started writing and then thinking about submitting short stories and eventually publishing my work, a common refrain was “You gotta have a blog. You gotta be on Twitter.” There was this emphasis on having a social media presence. After years of curating a social media presence, I’m not sure all of those experts are right. But then, maybe it’s just me.

A writing acquaintance had a contract with a small publishing house for his first two books. He writes cozy mysteries. A genre I had never heard of until I started reading his. After those two books, the publisher refused to consider anymore because he didn’t have much of a presence on social media. Sure, he had a blog, but he didn’t blog much. He was also on Facebook, but wasn’t super active. As far as I know, he never got on Twitter.

It’s a shame that his future efforts were rejected, not because of the quality of his writing or whether his books could sell, but because of his relative invisibility on social media. It’s another instance of traditional publishing going by something other than the quality of the story to make decisions.

What I’ve come to realize is that, except in incredibly rare circumstances, being on social media does not produce huge sales. To be honest, I’m not even sure what those rare circumstances are. I don’t know anybody who claims their social media presence has produced a lot of sales.

Earlier I said, maybe it’s my own fault. My social media presence is all over the place. I talk politics on my blog and on Twitter. A lot. I post pictures of food and beers and my trips out into the world. I blog about family life. Work life. I share all sorts of things on my social media outlets. It’s not just about writing.

And what I don’t do is constantly hawk my books on my blog, on Facebook, on Instagram, or on Twitter. When I publish a book, I’ll send a few tweets out, announce it on my different blogs, try to push it on my friends via Facebook. Then, every once in awhile when a good review gets posted, I’ll quote from it and remind people that I still have books out there in the world for them to consider.

A lot of writers I follow, particularly on Twitter, tweet and retweet blurbs about their books on a regular basis. Weekly and, in some cases, every single day. When I look at their sales on Amazon, it doesn’t look like they’re doing much better than me. So …

Here’s what I think I’ve figured out. On the one hand, my blogging and tweeting has produced some sales. Those sales, however, come mostly from people who, although we’ve never met, I’ve developed a connection with via social media. Bloggers I follow and who follow me where we have regular “conversations” via our blogs. Or the same on Twitter. There are a lot of great people I’ve “met” through social media and many of them have become regular readers of my books. As have I of theirs.

My reading audience basically consists of about 100 people. Friends and family, and those social media acquaintances with whom I’ve formed a bond. Beyond that, I don’t see anything I do on social media having any noticeable impact on my book sales.

With my latest novel, I ran an Amazon ad for a week. It produced no sales. I also tried one of those services that promises to tweet your book to their tens of thousands of followers and to feature your book in an email to even more of their followers. It produced no sales. (With both of those efforts, the price for my book for Kindle was $4.99. I wonder what would happen if it was .99 or free.)

On some level, I get it. I’ve never bought a book via an Amazon ad. Nor have I ever bought a book from one of those email/Twitter services. To be honest, I don’t even crack open their emails anymore. Why? Because the vast majority of books they feature are in genres I simply don’t read — like romance.

If I’m unwilling to buy a book via any of those avenues, why would I expect other readers to buy my book that way? Well, because it worked once. With my very first novel. EReaderNewsToday did wonders for sales and downloads for One Night in Bridgeport. Since then, however, nothing has worked. Nothing. Except for developing relationships with others. That, however, is a slow way to build a reading audience.

So, writers and readers out there … what about you? Does being active on social media produce results for your books? If you’re a reader, do you buy books via any of these social media outlets? And, if social media doesn’t work, what’s a better way to do this?

A Publishing Update

— Mark Paxson

Months ago, I posted that I was going to try the traditional publishing route with my latest novel. That effort didn’t last very long. Queries sent, queries rejected. Or just not responded to at all.

So, I decided to go the indie publishing route again. Only, I was going to put a little money into the effort for the first time, beyond some editing costs. I paid for a Kirkus Review of my novel.

The Kirkus reviewer provided a decent review, with some quotes that could be used for marketing purposes, but … the reviewer referred to the novel as a novella and the summary of the story line only included content from the first third of the novel. Which makes me wonder if the reviewer bothered to read the whole thing.

I asked them to fix the reference to it being a novella. It took more than a week to get that done. As the review was finalized, I pushed publish on the e-book version of the novel, while I finished up the formatting for the paperbook.

Let’s just say that the formatting experience became a gift from hell. Or something like that. There are certain things about Word that simply are not intuitive and never will be. Every time I work on formatting something for publication, I have to learn it all over again. It took me days and days and days to get it done.

One of the things I did with this book was to pay for a professional cover. It looks incredible and I never want to DIY on covers again. But that was another $300 down the drain.

Once I pushed publish on the paperback, I ordered author copies from Amazon. Twenty copies to hand out to people as I wish. Unlike when you buy a book from Amazon and it takes two days, sometimes a few more, for delivery, author copies take about two weeks. And for some reason, Amazon split my order of twenty copies into two separate orders. One order was … nineteen books, while the other was for one book. That one book showed up about a week later, and I waited and waited for the other nineteen books. They never showed up. Yesterday, I ordered twenty copies again. Let’s see what happens.

Meanwhile, I’ve entered the book in a couple of book contests, primarily ones focused on independently published books. I await the results. That was another couple hundred bucks invested.

And I’ve tried some promotional websites. EReaderNewsToday, which was so good for me with my first novel eight years ago, has been a difficult nut to crack this time. I submitted the book for their consideration a few weeks ago. Their website said that they were pretty booked and to make sure to submit for a date more than 30 days out. But the submission form required a date within 30 days. So, I requested a date within 30 days, and the book was rejected because they didn’t have enough room.

I re-submitted the book to EReaderNewsToday with a proposed date that was more than 30 days out. They rejected the book because they didn’t have room. Sheesh. Before I started writing this post, I tried for a third time — which is always the charm, right?

I also tried another promo site — GoodKindles. For the small fee of $45, they featured my book. Which means it was the lead book of the day in their emails and tweets to their subscriber list. My book ran on August 2 on their site and in their subscription communications. It produced a grand total of … zero sales.

A couple of days ago, I set up an Amazon ad campaign. I committed $150 to the campaign, which only costs me something if somebody clicks on the ad. What I set up was a campaign for Kindle screens. When you turn on you Kindle or it goes to the lock screen, ads show up, typically for books, but occasionally for other things. The campaign started today. As I write this post, 48 people have seen it, one of them has clicked on it, and none of them have bought the book. But at the moment, I’m only out .32 for that one click!!

This is all a long way of saying that nothing is working and I’m close to being at a complete loss for what to do next. I try to remember Berthold’s words on this topic in previous exchanges. To write for the pleasure of it and for the interaction with whatever readers I have. Between the Kirkus Review, the cover, and the promo efforts I’ve tried, I’m in for more than $1,000 now on this book and it’s actually sold worse than my last book. Even though I think it has more popular appeal that that last book.

What do you do when you get frustrated with results like this? Or do you not get frustrated? This goes back to a concept we’ve discussed frequently around here. It comes down to objective. While I don’t expect to ever write and sell a bestseller, I’d at least like to write books that reach an audience beyond my family, friends, and social media buddies. I’ve yet to figure out how to do that. I’d like to at least make some money at this and not just break even, or in this case, lose money.

It’s a mystery. How to do this in the indie publishing world is becoming almost as opaque as the traditional publishing world. Part of the problem is that there are so many of us. Literally, everybody is publishing a book now. Okay, not literally — almost everybody. It’s hard to find a spot in a limited world when it appears that there is an unlimited number of books out there competing for that spot.

I’m frustrated at the moment, but I’m also oddly motivated. I want to get to my next half completed novel and push it out there and see if that’s the one that can be a breakthrough. And, if not that one, the next one. I haven’t given up. Yet.

The Afterlife of Self-Published Books — Is There One?

— Guest Post by Chuck Litka

Have you ever thought about what will happen to your self-published books once you’re no longer on the sunny side of the lawn? Have you ever talked to anyone about looking after your literary estate once you no longer can? Have you made actual plans and shown someone how it all works? Have you looked into the legal aspects of it? Do you have any idea as to what someone will need to do in order for Amazon and the other retailers to pay royalties to a new rights holders? Heck, do you actually care what happens to your books after you die? I probably would have to answer “No” to all of the above. So take that as your baseline. Do you care more than I?

This site’s Mark Paxson is a lawyer, so he might have some insight as to what you would need to do for your books to live on with Amazon and the like after you’re gone. I suspect that unless there is just one heir, or the disposition of your intellectual property is spelled out in a will, it might be a rather expensive prospect to transfer your intellectual property to someone else. Certainly in my case, the revenue stream would be unlikely to be worth the expense, unless someone makes a movie of one of my books very soon.

But that’s just one side of the coin. The other side concerns the ebooks you’ve sold. It seems likely that most ebooks will die with their readers. At the very least, all those books on a reader’s devices – ebook readers, tablets, computers, and stored in the cloud – will face an uncertain fate when their owner dies. Will the survivors even know the passwords to be able to access the deceased’s digital library? And would they have any interest in it, even if they could? I may be a little bitter, but I have a wall of books that I’ve collected since my youth, and neither my children, nor my grandchildren have shown any interest in them, except for the Harry Potter books, so I doubt that many ebook collections will be passed along – assuming it’s even possible. If they are stored in the cloud, it might take legal expertise to gain access to them. And if they have DRM, they may not be transferable at all. All of which to say, It would seem that ebooks are very ephemeral things. I doubt that many of our ebooks will still be around fifty years from now.

That said, pulp magazines were pretty ephemeral things, as well. They were read and perhaps passed along, but they were pretty much designed to be forgotten by the time the next issue was released. Of course fans saved them, and not all of them were tossed out by mom along with the baseball card collection, so that today some of them still exist – as brittle yellow objects in plastic sheaths on the shelves of several hundred collectors, various university libraries, and used book stores. And they still have fans, even 80 to 100 years later. Some of these fans are scanning them and posting the scans on the internet so that they won’t be forgotten. Perhaps something like that will happen with self-published ebooks as well. Maybe the young people growing up reading ebooks today will someday collect and post them on some site as well? Who knows, stranger things have happened.

Our paper books, on the other hand, will have just as good of a chance of living on, as any commercially published book. They will make their way down through history via boxes in the attic or basement, garage sales, thrift stores, antique malls, and used books stores. They’ll be very rare, of course, but who knows, 50 years or more from now, they might be very collectible because they are rare. And the great thing is that you don’t have to lift a finger to make it happen. They can look after themselves. So in the end, I think that it will be our paper books that carry the torch of our creativity, however humbly, into the future. We may or may not be famous after our death, but we’ll still have our name on more things than on a tombstone, which is more than most people can say.


Opening Pandora’s Box

— Mark Paxson

Months ago, I decided to try traditional publishing with my just-completed novel. That didn’t turn out so well, so I moved on to publishing it myself. I also decided to put some money into the publishing effort for the first time. I’ve paid for a Kirkus review, which I should get in the next week or so. I paid for somebody more talented than me to do the cover. I also joined the Independent Publishers Association, which has all sorts of “benefits” for its members — reduced prices for various editing, marketing, cover design, review, and all sorts of other services the indie publisher desperately needs.

Meanwhile, over on Twitter, I’ve started following a few Twitter accounts that promote books to their followers. Most of them boast follower counts of tens of thousands. One of them has over 114,000 followers. Each of these accounts will tweet out your short blurb about your book with a link to purchase it.

Now, I’m feeling overwhelmed by the choices and the options. I’m the type of guy who would prefer returning to the days when there were only plain and peanut M&Ms, only one kind of Snickers, only three channels on the television. I have Spotify and I absolutely love that pretty much every piece of music ever recorded is available there, but sometimes, I just don’t want all of that choice and I find myself wanting to curl into a ball instead of being confronted with the world of endless options we now have.

Which is where I’m at with my current publishing journey. As the title states, I feel like I’ve opened Pandora’s Box. I have unleashed the kraken. Everywhere I look, there are more sites that will promote your book, more services that will review your book. All of these things, of course, come with a fee attached. Everything from $25 to have your book pushed through one of those Twitter accounts to $500 for a discounted review through my IBPA membership. $500!! For a review!! And that’s a discount!!!!!! (Side note: yes, I paid almost that much for a Kirkus review, but I’m not doing it again.)

Meanwhile, those Twitter accounts that promote your book with tweets to their thousands of followers? There is almost no engagement on those tweets, and I know I pay almost no attention to them. Twitter isn’t where I go for book recommendations, you know what I mean.

There are a few places that will provide a review for free, and when the time is right, I’ll pursue those.

Beyond that … see above about wanting to curl into a ball. There are just so many options out there and I can’t help but feel like it’s an adjunct to the whole vanity publishing concept we discussed a week or so ago. Sure, we’ll be happy to promote your book, pay us, and … bwahahahahaha, good luck!

We’ve talked about this here before, but if you’re an indie author who has used any of these services — particularly the review and promo services — I would love to hear from you, and I’m willing to bet other writers would too. What worked? What didn’t? How did you decide which ones to use and which ones to stay away from? How did you decide how much pocket change to throw at these things? In other words … what’s the secret recipe to success?

A Response to Chuck

— Mark Paxson

Yesterday, I posted this guest post from Chuck Litka. Chuck speculates as to whether indie publishing is, or has become, the new version of vanity publishing.

This is a thought I’ve had over the years as I’ve written and published the indie way. Are we all just a bunch of vain people who need to feed our ego by putting our books out there, regardless of what agents and traditional publishers might think?

To be honest, I think there might be a kernel of truth to that notion. But … I don’t think there’s anything wrong with that. We create and wanting the world to see our creation is a part of the process for many of us.

Yes, there are those who create only for themselves. They journal and never share it. They paint and cover their walls with their artwork. Musicians who play at home, never sharing the beauty of their music with the outside world.

And then there are those who want more than that. Who want to share their art with a larger group. Maybe just their friends and family. Maybe their community. Or maybe, they want to see just how far they can reach, how many they can touch with a piece they have created and that has meaning to them.

When it comes to writing, for decades (centuries?) there were only two options. Traditional publishing and vanity publishing. Vanity publishing typically involved paying thousands of dollars for somebody to “publish” your book, which really meant printing it and then sending you the boxes of books. It was entirely up to you to figure out how to sell those books.

Traditional publishing had its limits as well. You had to get past the gatekeepers to get in the game with the traditional approach. Good luck with that. And unfortunately, as the years go by and publishers have to prove themselves on the bottom line, they are less and less willing to take chances, to publish things that are outside of the norm.

One of the wonders of the technological revolution of the last few decades is that it has opened all sorts of new avenues for creative people to reach an audience. Whether it is blogging or other types of websites where we can show our words and our art, or places like Patreon where we can seek patrons to support our efforts, or, well sometimes it seems the possibilities are endless these days.

But there are problems with this strange new world too. Far too many people expect whatever they get on the internet to be free. Actually paying for content on the internet is, apparently, a huge no-no. I’m guessing it’s somewhere in the Bible as a venal sin. As a result, the idea of actually making money off of our art in this world where the venues seem endless … pfffftttt.

Another problem is saturation of the market place. When everybody can publish a book with the push of a button, guess what? Everybody is publishing a book. And those of us who do it the indie way have to constantly battle the backlash of readers who claim that indie published books are crap and not worth their time or their pennies.

The end result is that indie authors are faced with a world that is much like the world of vanity publishing. Sure, we can do it for much less money than the vanity publishers charged. But there’s no guarantee that we will ever actually find an audience beyond friends and family. And in some instances, maybe not even friends and family will care. So … like the writers of old who used the vanity presses, we use technology to throw our art out there and for far too many of us nobody reads it.

Meanwhile, in place of the vanity publishers of old, whole new industries are cropping up. Editors and cover artists and proofreaders and companies that will do everything for you — edit, cover art, stroke your ego, and put the books out there on the various retail platforms. For a small fee, of course. While never actually doing the hard work of marketing your book. No, that remains entirely up to the author, just like with the old-style vanity publishing.

I’ve had several co-workers who have paid several thousand dollars to these companies that are nothing better than vanity publishers for the digital age. They do virtually nothing to edit the book, nothing to market it. It’s a complete scam, but … here’s the other thing about all of this.

It’s about what each of us as writers want to do. What we want our experience to be. What we can afford. What is our objective. Those co-workers who I warned off the “publishers” they had found who were so eager to publish their books for that fee, went with them anyway. Which is fine. That fit what they were looking for and they were willing to shell out the money to make it happen.

Meanwhile, for the first nine years of my publishing journey, I didn’t have the financial resources to even think about something like that. I am one of those indie authors who has done the thing at the most minimal cost possible. Now, though, with my next book about to be published next month, I’ve cracked open the vault. I’ve paid for cover art and a Kirkus Review and I’m going to pay for some of the book marketing sites. All to see what happens. I want a bigger audience than I’ve been getting and the only way to do that is to pay for it. And hope.

Here on this blog, we’ve talked about a lot of things. Various rules of writing and suggestions for how to do things, or not to do things. Each time, I try to make sure to mention that this is not a one size fits all kind of industry.

Each writer has to decide what their objective is. Write for the fun of it. Write and publish and hope for a few readers and a review here or there. Write and publish and grow an audience. Write a bestseller and option the movie rights. Write and do what you want with the result. Each of these options has multiple paths forward and there is no right answer. Nor is there any sense in applying any negativity to the path a writer chooses.

Sure, we can call indie publishing the new vanity publishing, but so what. What’s your goal — pursue it. Pursue your art and make your dreams come true, whatever they are, whatever others may say about it, and whatever the labels may be.

Write. Create. Be you.

And buy my book!!

I’m kidding. No, not really.

Writers Talking: a Lost Podcast

Back in 2019, writer Kevin Brennan and two other writers sat down together to talk about writing novels and getting them published. He recorded the conversation, intending to turn it into a podcast. Unfortunately, a power outage destroyed the recording.

Brennan says: “It sounded so good too. You’d have loved it. I had some classic jazz to open the show with. I even put a little reverb on the recording so it sounded like we were in a small concert venue or a high-ceilinged coffeehouse. I could have thrown in ambient coffeehouse sounds to enhance the mood, but the thing was gone before I got the chance.”

But he had made a transcript, so the text of the conversation was preserved. Brennan published it under the title Close to Perfect: three writers talk about the craft and business of fiction in the 21st century.

And now, the book is available as a free download on Kevin’s blog. I recommend this book to any fiction writer, or to readers who wonder how it’s done.

A New Journey, Part II

A few weeks ago, I wrote about my efforts to find an agent, to go the traditional route with my latest completed novel. At the time, I was in the process of completing a spreadsheet with agents I was interested in querying.

Following that post and with a burst of energy and enthusiasm, I sent out a handful of queries. A week later, I sent out another handful of queries. And then I lost that energy and enthusiasm.

One of the seeming articles of faith in the publishing world is that publishers and agencies shut down during the holiday season. Most authors I see comment on this process seem to believe that sending queries to agents between Thanksgiving and the New Year is a pointless effort. Better to just wait a few weeks before giving it a try. That’s one of the reasons I took a break from querying.

Yesterday, I went back to it, sending out another handful. As of now, I’ve sent out 16 queries and received 3 rejections. I’m committed to sending out another 25-30 queries in the next week or two. That will be it. If nothing comes of those queries, I’ll go back to self-publishing. Although I may try some direct queries to publishers who accept unagented submissions.

In the meantime, I wanted to provide you with some additional resources if you are pondering the traditional publishing route.

First, there is a wonderful website called Writer Beware, operated by the Science Fiction and Fantasy Writers of America. The website has a wealth of information about agents, publishers, self-publishing, vanity presses, and other issues related to the publishing world. It also has a blog that regularly provides updates about agent and publishing scams out there. Guess what? There are a lot. I highly encourage any writer looking to publish to check this website out.

Second, there is Query Shark, a website devoted to helping writers improve the queries they are submitting to agents and publishers. The hosts of this site post queries they’ve received for review and then critique it. Sometimes brutally. But you can learn a lot about how to craft a query letter from reading their posts and critiques. Or better yet, submit your query letter to them and experience it directly. (I’m not sure how active this blog is. The last post was from last June, but even without any new posts, there are 335 posts critiquing 335 different query letters.)