Self-Publishing: Is That Where We Are All Heading?
Nick Inman
Nick Inman has some further thoughts about this difficult issue of self-publishing as opposed to what he calls ‘conventional publishing’. He emphasizes the critical role of the author’s own entrepreneurial skills -- and once more opens up the question of whether we need publishers and agents if they are not promoting our works.
Let me reply both to Carol Howland and to Stanley Lover, both of whom are struggling with the contemporary author’s quandary over self-publishing.
I don't think we should think of authors being self-publishers or not. I suspect that many of us will all become self-publishers in the future -- but not exclusively. When it makes sense (and is possible) to publish a book conventionally that is what we should be doing. But when it makes sense to self-publish, why not? Self-publishing suits: (1) novels that haven't got an obvious appeal; and (2) specialist subjects; (3) subjects of local interest; (4) controversial subjects; (5) memoirs and other very personal texts; (6) re-issuing out-of-print books. I also see it as a way of an author maintaing a power over the presentation of his/her work.
Conventional publishers are not always terribly good at promotion, and some of them are plain appalling when it comes to distribution. The result is that there is no clear division between conventional publishing, with the built-in assumption of being distributed, and self-publishing where at least you know you will have your books sitting in your bedroom.
But what I really want to say is you can turn the self-publishing argument on its head. Rather than being a sad, last-ditch resort, self-publishing can actually be a geneuine opportunity for an author. Distribution, likewise, is both an obstacle and a challenge for an author, depending which way you look at it.
Print on demand is a somewhat different matter, since it takes away the risk: your book can exist on Amazon while it is virtually cost-free to you.
The essential point is that, whether you publish or self-publish, you are faced with the same challenge: to get your book known and to get a buzz going. Now, for some books this is an uphill or impossible struggle. In the case of a first novel or an esoteric subject you may have to be content with the book just being in print. You may have a strong selling point. Then it is up to you -- even if you have a great publishing marketing department behind you.
Two other points:
1) Use what looks like a handicap to your advantage. If your book is only available on the web, that means you can market it to the darkest parts of China and beyond:
2) Don't write off local bookshops. If your book has a strong local appeal you can make a living by distributing it locally. There was someone in The Author a few issues back who was doing just that, taking all the profits, and not just a measly 5 or 10%.
As to practical knowledge, I have this to say (as I have worked in publishing and have self-published):
1) Do it well. You must do everything to distance yourself from vanity publishing. Keep control over the process yourself and set yourself professional standards. Get your MS edited and proofread even if it costs you money. Get a book designer to lay the thing out, improve the photos and do the cover. Get a publisher's cartographer to help you with the maps. Homemade looks homemade. Let professional people advise you -- they may tell you to cut one third of your precious MS but if it makes a better book, just do it. Even if you are doing a hundred copies for friends and family, make it as good as it can be.
2) As for distribution, think creatively and expansively. Your aim is (a) to start an unstoppable stream of publicity via word of mouth and (b) to inspire someone somewhere in the media. You could be just as effective as a professional PR person in a large publishing house. You could do worse than read the Frugal Book Promoter by Carloyn Howard-Johnson, which verges on the outrageous but will give you some good ideas. Think like a journalist and find the angle in your book: all the media-people are looking for a "hook" to build up an article or develop a radio or TV piece. Give them something to latch on to.
Phew! I just felt like saying all that. The common thread in this is that writing is not the end of your involvement in the production process. But that is even true if you are working with a conventional publisher.
Nick Inman has some further thoughts about this difficult issue of self-publishing as opposed to what he calls ‘conventional publishing’. He emphasizes the critical role of the author’s own entrepreneurial skills -- and once more opens up the question of whether we need publishers and agents if they are not promoting our works.
Let me reply both to Carol Howland and to Stanley Lover, both of whom are struggling with the contemporary author’s quandary over self-publishing.
I don't think we should think of authors being self-publishers or not. I suspect that many of us will all become self-publishers in the future -- but not exclusively. When it makes sense (and is possible) to publish a book conventionally that is what we should be doing. But when it makes sense to self-publish, why not? Self-publishing suits: (1) novels that haven't got an obvious appeal; and (2) specialist subjects; (3) subjects of local interest; (4) controversial subjects; (5) memoirs and other very personal texts; (6) re-issuing out-of-print books. I also see it as a way of an author maintaing a power over the presentation of his/her work.
Conventional publishers are not always terribly good at promotion, and some of them are plain appalling when it comes to distribution. The result is that there is no clear division between conventional publishing, with the built-in assumption of being distributed, and self-publishing where at least you know you will have your books sitting in your bedroom.
But what I really want to say is you can turn the self-publishing argument on its head. Rather than being a sad, last-ditch resort, self-publishing can actually be a geneuine opportunity for an author. Distribution, likewise, is both an obstacle and a challenge for an author, depending which way you look at it.
Print on demand is a somewhat different matter, since it takes away the risk: your book can exist on Amazon while it is virtually cost-free to you.
The essential point is that, whether you publish or self-publish, you are faced with the same challenge: to get your book known and to get a buzz going. Now, for some books this is an uphill or impossible struggle. In the case of a first novel or an esoteric subject you may have to be content with the book just being in print. You may have a strong selling point. Then it is up to you -- even if you have a great publishing marketing department behind you.
Two other points:
1) Use what looks like a handicap to your advantage. If your book is only available on the web, that means you can market it to the darkest parts of China and beyond:
2) Don't write off local bookshops. If your book has a strong local appeal you can make a living by distributing it locally. There was someone in The Author a few issues back who was doing just that, taking all the profits, and not just a measly 5 or 10%.
As to practical knowledge, I have this to say (as I have worked in publishing and have self-published):
1) Do it well. You must do everything to distance yourself from vanity publishing. Keep control over the process yourself and set yourself professional standards. Get your MS edited and proofread even if it costs you money. Get a book designer to lay the thing out, improve the photos and do the cover. Get a publisher's cartographer to help you with the maps. Homemade looks homemade. Let professional people advise you -- they may tell you to cut one third of your precious MS but if it makes a better book, just do it. Even if you are doing a hundred copies for friends and family, make it as good as it can be.
2) As for distribution, think creatively and expansively. Your aim is (a) to start an unstoppable stream of publicity via word of mouth and (b) to inspire someone somewhere in the media. You could be just as effective as a professional PR person in a large publishing house. You could do worse than read the Frugal Book Promoter by Carloyn Howard-Johnson, which verges on the outrageous but will give you some good ideas. Think like a journalist and find the angle in your book: all the media-people are looking for a "hook" to build up an article or develop a radio or TV piece. Give them something to latch on to.
Phew! I just felt like saying all that. The common thread in this is that writing is not the end of your involvement in the production process. But that is even true if you are working with a conventional publisher.
posted by SOAF Chairman at 2:08 PM
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