Traditional vs self publishing

Let me make my disclosures before I reveal my judgment call... 
 
 
I have six mass market novels available from Simon and Schuster's imprint Pocket Books.


I have a prequel short available in a trade paperback anthology, as well as from my website via e-version...or I used to. The title of the short MARLBOROS & MAGIC apparently, after a year of availability, triggered something in Amazon's system that said I can't use Marlboro in the title because it is trademarked.


--SIGH--


 So I have to rename it, reload it, and somehow manage to help folks understand it is not something NEW.


I really don't want to piss folks off because they were 'suckered' into buying something they already have...



Shhhh...I also have an unrelated novel coming out from a small press next year (announcements coming later).
 
And there's that 7th installment into Persephone's world...

Every week I get emails from someone new asking about the rest of the series. Sadly, there is no interest from the original publisher. So I will be forced to finish it without them.

I have inquired with the fans if they want ebook or print. So far, it's about 50/50. So however I choose to 'deliver' the novel, it must have book options.

I may offer it to the small press; I may make it self-published. I am still totally on the fence about it and uncertain which is the best option for me. To acknowledge the pros and cons of both possibilities that my blog-family have been talking about this week, I like the idea of the amount of control self publishing provides, yet I'm not sure I want the total commitment of time. Relinquishing some control gives me more time to, yanno, write. Social butterfly that I am not, letting others handle promotional stuff is an attractive feature.

Traditional publishing:

-is so SLOW
-typically need agent to even be considered by editor
-likelihood of being the editor's selection for his/her available slot in publication has odds similar to those of winning the lottery
-print and ebook, distribution
-there will be some sales
-expectation of quality should be sound
-they (should) do majority of marketing, author does some, they may pay for some marketing such as banner ads or blog tours at the author's request
-they do editorial, copyediting, typesetting
-they do cover (little to no control by author)
-they format all ebook types
-price is set by them

Small press publishing:

-faster, but still takes time
-agent good but not necessary
-likelihood of being the editor's selection for his/her available slot in publication has slightly better odds than those for winning the lottery-there will be some sales-expectation of quality can vary by press (do your research)
-ebook and print on demand, possibly print and distribution
-they do some marketing, author does some; books included in regular marketing that small press does and is present wherever they have tables, etc.
-they do editorial, copyediting, typsetting
-cover may be negotiable, may be their choice
-they format all ebook types
-price is set by them

Self publishing:

-FAST 
-no agent necessary
-you will be published when you hit the publish button-there may be single digit sales (0 is also a single digit...reality)
-quality (often in the eye of the beholder) is entirely your responsibility (and your reputation is on the line)-ebook and print on demand, 'distribution' unlikely-author does ALL marketing, pays for promotion and ads, sets up and pays for blog tours and signings, sets up and pays for tables at conventions, etc.
-author pays for editing, copyediting, typsetting
-author pays for cover
-author pays someone to format all ebook types
-author decides price


And this is just off the top of my head...so it is a lot to think about.

And Now, For Something I Know Nothing About

Small Presses. I had to look that up to see what made a press 'small'. Definitions vary, but the most consistent factor seemed to be money. If the publisher earns below a certain dollar amount per year, they quallify as small.

You now have the sum total of what I know about small presses. I know that some of my friends have published through small presses. Some of them have had terrific experiences. One or two have had nothing but trouble (notably with presses that ultimately folded).

I know that I had decided to go with a small press if, once again, my manuscript had swung back at me with a tail of rejections in its wake. It didn't happen that way and Berkley bought that book and one other. Now, I'm out of contract with an incomplete series.

Once again, I turn my gaze to the small presses, investigating my options and deciding whether sticking with a series that didn't sell all that well is really the wisest course of writing action. Assuming, you know, that the characters will *let* me wander away from finishing the series. I'd always been told that when a series is abandoned by one of the Big Six, the game is over. No other publisher is going to want to pick up a series midstream.

Maybe that was once true. No longer. In certain circumstances, a few of the e-first presses have indeed picked up series in the middle and driven them to bigger and better sales. Whether my circumstances warrant a small press contract I won't know until I try. If that works out, maybe I'll have something more useful and informative to offer regarding small presses.

The biggest stumbling block I face is knowing whether small presses are a better career move or if self-pubbing is a better career move. It feels to me like the story goes either way depending on whose Kool-Aid you drink. You know the fairytale - self-publish and you can roll in the filthy lucre that comes flooding your way. Except that while money is nice in that it helps pay the mortgage and all, money isn't why most of us write, I think.

Story. Readers. Cheap therapy. Getting to legally off the people who annoy us...oh wait...is that just me? Sorry. I think finding the right venue for each story is the real trick. So I'd appreciate a handy, convenient check list for knowing which stories ought to be submitted to small presses and which should go it solo. Someone get on that, will you?

Pressing Business

by Allison Pang

Pardon me if this post seems a bit short and rambly. I'm actually still on vacation and I've been staying off the internet for the most part (and the wi fi is fairly spotty at best anyway.)

To be honest, this week is a little difficult for me - mostly because I don't have any real experience with small presses. But there are moments when I wish I did.

I did look at some when I first decided to try to get published. Back when I was finishing up my manuscript I was in awe of anyone who had a book on the shelves. The dream of getting published was just that - a dream. The mere idea of even attempting to get my manuscript read or accepted by an agent or a New York house was overwhelming. I didn't think I was ready or even had the talent to try.

I think a lot of this was compounded by the fact that so many other writers I knew from workshops and online groups constantly talked about how long they'd been writing for, how many rejections they had, how many trunk books they had.

I didn't have any of that, so I assumed I couldn't possibly be ready for the big time. I started looking at small presses, under the assumption that I needed to pay my dues there first (as has been previously mentioned this week by some of the others, small presses can be fantastic places to grow talent.) Plus I had a project I was working on at the time with a co-writer and I thought some of the more erotica based small presses would have been a better fit for what we had.

But then the project fell apart and I was left with only the solo wip that I had started to write to have something to learn with. And I wavered as to what I should try to do - but I knew that I wanted to be traditionally published, so I figured I'd start at the top and see what happened.

And somehow, it worked. I got my deal. I got my NY publishing credentials.

But I also got lost in the shuffle.

One of the things I definitely envy among many of my small-press author friends is the fabulous relationships they have - with their editors, with their publicists...and with the overall enthusiasm their publishers treat their work.  Small presses tend to be more transparent in some ways - you can definitely get a better sense of how things work from a business perspective.

Traditional publishing with the big six is a bit more murky, especially for a mid-lister. So, no - I can't give anyone specific advice about small presses. What I can tell you is that in the three years I've been with my publisher, I've been orphaned twice by my editors (I'm on editor number 3 for book number 3 - and no, this isn't because of diva behavior on my part. One editor quit and went elsewhere. One editor went on maternity leave and never came back). Same with my publicists - number 3 on this new book, and I've never even spoken to her on the phone. I have very little idea as to what she does or how she does it (with the exception of sending galleys out for review).

I suppose this makes me sound a bit jaded. I probably am.

It's not that I'm not grateful for the opportunities I've been given, but sometimes I think there's this idea that getting a "deal" means all your writing problems will go away in a halo of rainbows and roses. The truth of it is that publishing is a business, whether you go large or small press, or go with self-publishing. We like to think that being an author is all about the words, but it really isn't anymore.

It can be hard to research publishing houses - as I mentioned above, the big six can be rather tight-lipped when it comes to telling their authors what the sales numbers are, for example. Communication can sometimes be slow.  With the ebook./DOJ issue floating about, it becomes even more difficult, especially when it comes to trying to figure out what's fair as far as royalties and advances go
.
If you're thinking of working with a small press - check out their track record (especially with someone like Preditors & Editors). One of the things I've noticed is that with the advent of ebooks, a large number of small presses have popped up. Some are legit....but an awful lot seem to have been created by authors who couldn't get their work published anywhere else so decided to create their own publishing company to avoid the "stigma" of self-publishing.

Bottom line is: If you have a contract, *really* take a good look at what you're getting....and what you're giving up. There have been so many horror stories out there of authors who have been jilted out of royalties or had their work changed or stolen because the authors are so desperate to get their work in print. You can save yourself a world of hurt by doing your homework (even if some circumstances are beyond your control).

In the end, I guess the only real advice I can give is make sure you really want it - once you sell, things become a whole new ball game - and chances are, you'll be learning the rules as you go.

The Right Small Press

I'll confess. I'm on the hunt for the right "small press." Yes, even with the advent of Self-Publishing I'm still interested in a business relationship with a good publisher.

If you can't go big, why not go it alone? 

It's hard to believe, but I don't know it all. Fortunately, there are professionals out there who spend their days drenched in information and applications I don't have the time (or overwhelming desire) to learn. By partnering with them, I can focus on the stories and they can focus on getting those stories into the hands of readers.

However... 

I'm not going to sign with just any publisher -- big or small. As the "talent" origin of the product life-cycle, I have expectations. Most are reasonable. All separate putting a book on the market myself versus partnering with a one-stop-shop known as a publisher. Naturally, there are the common sense requirements that sort the imposters from the publishers (no, I will not pay you to publish my book; no, those rights are mine; etc.). I'm not going to dwell on those. Assuming the publisher is reputable, here are the Top 5 Things I expect a publisher of any size to bring to the table:

1. High Quality Edits -- Content & Copy: Note that I refer to the tasks not the titles here. It is an important distinction because "Editors" have now become "Project Managers." Their primary task is no longer "quality control" or "talent management"; however, the need for a third-party to edit a story hasn't diminished within the industry. I'm not the sort of artist who needs coddling, but I absolutely expect my partner(s) in editing to prevent my story from reading like shit.
2. Market Familiarity: I know enough about my target audience to understand they are a niche group. Do I know where they shop? Do I know their purchasing habits? Do I know which product designs encourage purchases? Can I anticipate their buying behavior based on region, income, or method of delivery? Hell no. Do I know which competitive products are being released, when, with what level of promotion, and under which title? Nay, nay. Do I expect my partners in marketing to be able to cough up this info faster than their shoe-size? Yep, and they'd better apply that knowledge to the product we are putting on the market.
3. Sales & Distribution: What exactly is being sold to whom, where, how? E-book only? PoD? Hardback? Trade Paper? A mix thereof? Are sales direct to consumers or are retailers involved? What about buying clubs and bulk retailers? Domestic sales only? Is bundling possible? What about pricing? Any party owning the appropriate rights can slap a listing up on the leading US retailer of books, pay the fee, and sell a digital product. I'm partnering with a business, so I expect more avenues of distribution. Frankly, I want more than one format of the product too. Don't get me wrong, I don't expect to be involved in their sales and distribution plans; however, I need to know enough about them to know that they have distribution network.
4. Reporting & Payments: I know, I know. P&Ls are the most mind-boggling business flaw of the Big Publishing Houses. How can a producer of a consumer good not know how many units they've moved at what price in what time period? Digital-first publishers have set new expectations among the talent pool because they have this information at their fingertips. Having this information means authors get paid more often and more consistently. Yes, I do expect to be paid without having to retain a lawyer or a temple-dog to hunt down the payment. Yes, I do expect a smaller press to be more nimble and on the ball when it comes to numbers and their P&L.
5. Rights Protection: If some snerg pirates or plagiarizes my work, I expect the publisher's legal department to go after them with full fang and claw. I also expect the publisher to protect their interests (some of which overlap with mine, some of which conflict) in the face of technology developments (Google Books, e-books, Agency Pricing, etc.).

Not having first-hand experience with either a big publisher or a small press, I rely on word-of-mouth and research to estimate the advantages and disadvantages of each. At the moment, the best business decision for me is to tap the expertise of those who have a strong incentive to help me succeed. The fewer people who have a share in my success, the more accountable each of them is. This, to me, is the underlying advantage of a small press.

What about you, dear reader? What advantages or disadvantages do you see in publishing with a small press?

GETTING THERE IN THE RIGHT BOAT (a metaphor about small press publishing)

Publishing nowadays is a big ocean. That ocean has a lot of waves and even some storms.  If you wanna be a writer then you have to pick the right boat to get you across that ocean.

 (yes, I know that is a pic that has NONE of the ships I am about to use as a metaphor....don't get lippy)

You have six big cruise ships that can carry you across. They are hard to get onto and they go in one direction, which is great unless you decide to change your destination.  You want to go somewhere else? Welllllllll, tough.  Those are the big six publishers. The "New York" publishers.

You can also get out in your own tiny speedboat of independent publishing. You can move faster, dart around obstacles, and basically pick your destination and head there, changing your mind in mid trip. However, it takes more work, you can't just set sail and then sit back. A big wave can come up out of nowhere and knock your boat off course. And sometimes the real truth is your boat may not take you all the way across that ocean. You may not make it to your destination.

In between the cruise ships and your own speed boat though are a number of choices, an entire armada of ships of all sizes who can take you damn near anywhere you want to go....if you match the right publisher to the right destination.

These are small presses. They are publishers who run from tiny "couple of books a year" presses to publishers who can get you the same placement and distribution as New York can.

Most small presses, the good ones (cause we are NOT discussing the craptastic scam "publishers" out there. Be informed before you sign for goodness sakes, we have the internet these days, do your research.), are solid businesses. They have contacts and resources and the means to build your career. They can take you to your destination or even just part of the way.

Maybe you need developing as a writer. You wrote a good book, but you still need some seasoning...a small press can develop you.  Maybe you have a book that is good, but so tuned into a specific sub-genre that a big time publisher can't risk it, that is something a small press can do.

Small presses are great. I have many friends who run small presses or write for them. And hell, there is something to be admired in someone deciding to strike out on their own and make a business.

Here are some of the small presses I like. This is NOT a comprehensive list. It's not even a recommendation, just a bit of advice/opinion.
(the names of the presses should be links...if they don't work just use your Google-Fu)

Samhain Publishing.
Mostly e-book, mostly erotica and romance but now with a great new horror line, I really like Samhain. I don;t write for them, but everyone I know likes them and they seem like good folks. And, if you write horror, definitely a place to look into.

Kerlak Enterprises
Run by Allan Gillbreath this press is at a LOT of conventions. Allan is good peeps. They do a good amount of books and really seem to be pushing harder every day. I'll be doing a story in an upcoming anthology from them this winter.

Seventh Star Press
Another publisher who really works the convention circuit. Their books are really good looking and everyone I know who pubs through them is super nice. They mostly put out fantasy but do have some urban fantasy and others.

Bell Bridge Books
My good friends Kalayna Price and John Hartness are with Bell Bridge. They both love them. I will say they have a great presence online and at shows. Their stuff seems to be pretty top notch.  Like I said, both my friends are really happy to be with them.

One Buck Horror
If you have a short horror story then look into this publisher. They do collections of short fiction every quarter in a 5-story collection in e-release.  Chris and Kris are AWESOME. Easy to work with, nice, friendly. And they pay pro rates and ON TIME which is huge. My short zombie story is in their special edition ONE BUCK ZOMBIE (.99 cents everywhere fine ebooks are sold......end shameless promotion)
Working with them was an absolute pleasure.

So look into small presses, you might find your boat man.

The Advantage of Small Presses

Couldn't resist using this picture of my dish washing assistant. Good things come in small packages, yes?

Most writers dream about the big score - being published with a big New York City publishing house. For me it's embodied by movies where they show editors commanding assistants to deal with the diva author who's come to visit. They plot ways to get the writer to deliver the book. Or to soothe ruffled feathers. There are expensive luncheons and receptions and anxious publicists catering to the author's every need. Also? Lots of mahogany and glass. And martinis!

Totally archaic. And likely unrealistic even in the hey day.

But it's a lovely fantasy.

Part of that fantasy is the author as superstar. The Castle lifestyle that Carolyn mentioned yesterday. The other part is that it's a rarified place to be. It's not easy to get in with a big house.

This is where small presses come in. Paradoxically, it can be easier to publish with a smaller press precisely because they are less corporate and can have a different focus. A small press might like your offbeat guide to southwestern roadside curry vendors, where a big house sees something like that as falling well below the margin of profitability. Smaller presses also are more accessible, with more flexible business practices.

My first book (Wyoming Trucks, True Love and the Weather Channel) was published by the University of New Mexico Press. My editor corrected me, though, when I referred to it as a small press, saying that she'd call it a medium-sized press. It used to be that a small press was generally defined as one that produced less than ten books a year. I have no idea how the rise of digital-first presses affects this. Ellora's Cave, one of the first digital presses and arguably one of the biggest, is releasing 16 ebooks this week, whereas Carina Press, which is a smaller imprint of the giant house, Harlequin, is releasing three. Some of this reflects a different emphasis in business practices and intended audience, too.

I can vouch that working with Carina "feels" like working with a smaller press than my Ellora's Cave interactions do. More like when I worked with UNM Press.

It will be interesting to compare, if I ever publish with one of the big NYC houses.

Frankly, though, I've just never been that good at being a diva.