By Elizabeth S. Craig, @elizabethscraig
Recently, I was asked if I’d ever consider writing for Penguin or another publisher again. I never like to say never because never is a long time in publishing.
But things would have to radically change for me to go back. The amount of income that I bring in by self-publishing is far greater than the amount I bring in with trad-pub (although I have fewer self-published titles). There would have to be some real incentive.
After some thought, this is what I came up with:
Better royalties. Much better royalties.
No non-competes (don’t get me started on the last contract I saw).
No rights grabbing. Allow me to retain rights to audio and foreign sales. Allow me to get my rights back if things don’t work out between us (incidentally, this hasn’t been a problem for me, but I’ve heard nightmare stories from other authors).
Monthly payments. Royalty statements that I can understand and access online (the online part is rolling out now).
More input into cover design, if I want it.
I’d like my books to be competitively priced in the market. The market as a whole, not just the traditionally published market.
Marketing. And I don’t mean catalog listings…a modern approach to marketing/getting the word out.
Real support with my own marketing: in particular, website help/design help, help with social media.
But even then…I’m still not sure I’d go for it. I’m not sure exactly what I’d be using them for. I’ve done all this stuff myself with better financial results. Maybe what I really need is a virtual assistant and less stubborn determination (pigheadedness?) to do it all myself. I’ve already started outsourcing some of the things I really dislike (accounting), so maybe it’s smarter for a self-starter author to just outsource more than to go through a publisher.
Just a note here that others will choose differently. I know some writers state they have no time for learning self-publishing and no money to be able to pay a cover designer or formatter upfront. I totally understand that. But maybe there needs to be another option here…traditional publishers that take cover design and formatting costs out of the advance or initial royalty payment. Publishers sometimes use the argument that business costs involving book design necessitate the royalty plan. But we all know excellent covers aren’t worth having low royalty rates for our lifetimes (and they certainly don’t cost that much for publishers).
What reforms would you like to see traditional publishers make?
Ideas for improving traditional publishing: Share on XImage: Death to the Stock Photo
Hi Elizabeth – this should generate some interesting comments – I’ll be back to read. I think outsourcing aspects makes absolute sense … taking the sting (and pain) out of a few of the have tos … accounting being one for many …
Stirring up our design potential – by learning a programme or two … increasing our education … so we can eliminate those costs too …
Looking forward to your reader’s comments … cheers Hilary
Hilary–I think it makes sense and probably could make life easier. The only time suck would be finding a reliable team for that stuff, but once you’re set up, it runs itself.
My design potential is sadly limited to what I can do on Canva (I’m grossly inadequate with design), but I like being able to do my own FB headers, Wattpad background, etc.
Hope you have a good week!
Higher royalties would be nice.
I don’t understand self-publishing and my publisher does do a lot with marketing. I don’t think I’d do as well on my own.
Alex–It has quite a high learning curve, but once you’ve figured it out, you’ve got it. :)
Somehow, Alex, I think you’d be great at marketing if you set your mind to it. Or you could have one of your clones learn to do it. :)
Ken–For sure! :)
Thanks, Elizabeth, for your thoughts on this. Having done both kinds of publishing, you’re in such a good position to decide which path is right for you. One of the good points you make here is that there are a lot of resources out there for the writer who decides to self-publish. You don’t have to go it alone.
Margot–Right, and much has been made of the point that it’s really a misnomer to call it *self*publishing when so often the whole community is involved. One of those “it takes a village” type things.
Great idea. Let’s call it “village publishing.”
I like that term, Maggie! :)
Funny you should talk about assistants…I’ve been talking to some other indies about publicists, and honestly I’m not sure why money wouldn’t be better spent on an assistant- in person or virtual- who could do the marketing grunt work all of us dread.
I’ve never been traditionally published, but authors I know who have would definitely agree about comments re: cover. That’s one thing, but even *titles* are sometimes an issue, which would make me cry.
Deborah–I’m with you…I don’t like the idea of having a PR person. That’s, sadly, because I think I’m a bit of a control freak. But a VA will follow our direction, which is a lot more appealing.
I was blessed with really awesome covers…I don’t think I had a single really awful one. But I know so many trad authors who were devastated over their covers and titles (and then were basically “paying” for those design services for their lifetime in royalties).
Titles…yeah, with cozies you’ve only got a few options. :) Punny is what trad pub likes. I gave them suggestions with every book…and they never took them! But the books did sell, so I won’t complain.
Macmillan changed the title of my novel about six months into the production process, and refused to be swayed by my arguments for not changing it.
Maggie–At my publisher, I was told marketing made the decisions/called the shots for covers. And on another occasion, I was told the publisher himself had wandered into the meeting (I suppose he wandered, because I can’t imagine him attending one of my cover conferences on purpose) and really liked a particular title. The title had nothing to do with my book. I was asked to work in the title. I did. :)
You were established when you ventured into self-publishing, which really helped.
After reading your list, I hope FFP is a viable alternative for some authors.
Diane–That is a good point and one that anyone with a first manuscript would do well to note. I’m in a good position for calling my own shots. But that being said, please, if any new writers *do* go through trad-pub (and this isn’t for you, Diane, because I know you’re a pro at all this and have been for longer than me), read the contract carefully and know *exactly* what you’re signing on for. Sites like http://pred-ed.com/ will help, as will Victoria Strauss at the excellent Writer Beware blog: http://accrispin.blogspot.com/ (Victoria is currently on a hiatus, though, taking care of her mom). Another nice resource is Passive Voice blog, particularly his posts on contracts: http://www.thepassivevoice.com/category/contracts/ .
I agree 100%. I had one of those horror stories with trade publishing, and it really opened my eyes.
To give you an indication of the importance of pricing: When I got my rights back, the e-book had been sold at something like $3.99. (For a brand new unknown author and the first book in a series at that.)
I changed the cover and the blurb (so I suppose that could have an impact too), but more importantly, I changed the price to $1.99.
And I sold more copies in the first three days of the book being published, than I did in THREE MONTHS with my publisher.
Yes, I’m making less money, but I make it back if my sales convert to the sales of my sequel, which I published concurrently this time round.
In addition to all the things you pointed out, I think publishers in general (although I know there are some exceptions) need to realize that they need to teach writers like clients instead of commodities.
*treat, not teach.
Misha–Oh gosh. Sorry you had such a rough experience. I’m with you…volume beats all. One of my publishers has one of my ebooks at $8.69. That’s right…that’s not a typo. It makes me a little sick.
A mindset change with publishers would definitely be helpful, for sure. We *do* provide the one thing they can’t generate: the content.
I’m a brand-new indie author testing testing lots of marketing ideas, one by one, to see what works. This is my first book, so rather than focus on sales, I’m interested in getting together a list of effective tools/sites/connections so that when book three or four comes out, I’ll know what to do:)
My understanding from other new authors taking the traditional route is that the burden of marketing, post-publication, rests mainly on their shoulders–it’s even in the contract, with deadlines. It’s only been a month since I published my book, but from what I’ve seen so far, my most important tool is the ability to adjust my price for promotions–one area traditional publishing probably will never loosen control. Many list services even require that the books they list are free or $0.99.
I’m curious to see how authors’ options evolve…
Rebecca–It sounds like you’re handling the business end in a very smart way.
It’s always good to experiment. That’s how I ended up as a hybrid author…I wanted to see how I’d do with self-publishing.
I never saw marketing in my contract (that would really have alarmed me), but I saw some other really unfortunate clauses in my contracts. :(
The thing that makes it out of the question for me are the “lock-down” factors: non-compete clauses and wishy washy termination clauses. I think many of us would put up with a lot if there was an easy and friendly way out of the deal.
I personally like the idea of time-based contract. The publisher buys the rights for, say, 3 years. At the end of that time, they can negotiate up to two more years at a time — but they have to pay for it.
Camille–Yes, those are challenging to work around. My agent and I worked like the dickens to get rid of the non-competes. It was an icky feeling, wasting that much energy on something like that.
I like the idea of a renewable, time-based contract, too.
I don’t think traditional publishing can be saved, any more than print newspapers or traditional libraries. Nor should it be.
The era of “pick me!” was short, beginning only a century and a half ago with the rise of the “job” (honest, the idea of working for someone else is an extremely recent concept.)
“Pick me!” needs to end, forcing us all to make our own way. Entrepreneurship, freelancing, all the various forms of working for ourselves — especially in the arts.
Those who want someone else to pay for their art should find a patron, someone so enamored of their work that the patron will fund their life, their art, in order to ensure that the artist can create, and will possibly find an audience.
But the churning cranking out of more best-sellers based purely on financial goals? It’s a symptom of much deeper shortcomings which are beyond the scope of this already off-the-page rant.
I do realize that my view is extreme, and I catch flak for it often. But I wouldn’t take a job or a traditional publishing deal no matter what the offer was.
Traditional book stores. Not libraries, book stores.
I wondered about that.
I myself think that publishers will have a place, but not the one they have now. For instance, there will always be a place for packagers and syndicators. People who do work-for-hire content. But that’s always going to be a specialty. I don’t see it as the way mainstream publishing will work.
Agreed, though I wouldn’t call that “publishing” any more. Those services already exist to support indie publishers.
I think coalitions of those support services (editing, design, marketing) make sense. Everyone specialize in what they do best. And eventually we’ll sort out a way to share profits rather than exclusively paying up front.
Those providing support services will invest time and effort in an author the way a traditional publisher invests money now, except each can decide what mix of economic and artistic foundation to base their support on.
Oh, no, I wasn’t talking about that. I was talking about publishers who develop the material in-house and hire ghost writers on salary.
There will always be syndicators and packagers.
Joel–I always like to see a variety of opinions! You’re not ranting, just putting together your argument. And you make your case well, as always.
I believe my husband is my artistic patron. :)
And yes, the coalition of support services is already out there. A writer just needs to be savvy to find the best deal for the most professional look. I think the more options writers have, the better. And we all need to keep up with industry news and watchdog group reports, too.
Ha. But is he a willing patron? Makes all the difference, eh?
I’d love to support an author I thought was going to succeed by giving them cover art or developmental editing. But so few authors have a business plan, so few have any idea about the business side, that right now, I’d have to do it purely on artistic merit.
Joel–Oh, he subscribes to the age-old Southern philosophy: “If Mama ain’t happy, ain’t nobody happy.” :)
And you’re right…it would make for a risky investment supporting many authors.
This indicates, once again, that we are a gender-reversed household . . .
:)
Patrons who fund the life … Musicians, composers had had them, mainly in the baroque period.
And look what great works came out of it which we still love to listen to.
And on the other hand, writers like Goethe were “self-publishers”.
Great post, Elizabeth! I’ve long bemoaned the pricing of ebooks by traditional houses. One of my publishers ( one of the huge 4 or 5 conglomerates) has my mass-market paperback priced at $8.99, and the ebook at $8.54! Another publisher (affiliated with another biggie for marketing/distribution) has my trade paperback priced at $11.62 and the ebook at $9.59. The big guys are KILLING our ebook sales by refusing to price them reasonably. I suppose they’re waiting for all the indies to dry up and blow away, but we all know that’s not going to happen. I’ve thought of self-pubbing, but don’t know if I could market effectively.
A question to you experienced self-publishers: Will the major reviewers (PW, LJ, Kirkus, etc.) give your books a fair shake providing you meet the pre-pub requirements, etc.? I’d really like to know and would appreciate your input. Thanks! –Michael
At this point I think those reviews still ignore indie publishers.
I also suspect that readers are slowly learning to ignore Kirkus et al. The NYT bestseller list is just a way to find out what everyone else is reading — but that’s information I can’t avoid even if I try to. They serve no purpose to me, as a reader.
If you gather quality reviews by launching your book properly, you can slowly build the 1,000 true fans you’d need to succeed. Though I’m not there yet with my books, it’s how I built the business that put me in this nice lake house in paradise, so I trust it will work in the book business as well (I’m already seeing results.)
Taking the reins in every aspect of your authorial business is the smart move. Doing it all yourself, not so much. But managing it all, absolutely.
Michael–I’ve been in much the same boat, although the ebook prices with Penguin (now Penguin-Random House) have been better lately.
You know what I’d do? I’d take one of your reviews from PW, Kirkus, whomever and excerpt it. Then it goes at the top of your book description on your self-pubbed book: “Newest release by Michael Helms, whom Kirkus called ‘the next Ken Follett.” That sort of thing. Then I wouldn’t worry about it anymore. I agree with Joel…I don’t think the reviews from the print reviewers matter to readers. Many of them are reaching my books by Amazon algorithms, not by reviews.
PW just started an indie review arm that is free for authors that they select! I submitted a month ago and haven’t heard back yet either way, so I have no idea what kind of time frame they work within…
Rebecca–Good to know…thanks!
Indie publishing has a huge variety of positives – so much more than even a few years ago. I think that’s the way I’ll be heading one of these days :)
Jemi–It does have a lot of positives, plus a lot of support. So if there’s anything we *don’t* know, a quick search online can give us the answers.
Elizabeth–
All I have to add is to emphasize the importance of Diane’s comment on your being well established before going indie. That really is crucial for un-established writers to remember. You worked hard and produced lots of “product” for your trad publishers, and to market that work–but you also had the huge advantage of in-house editors, designers and, perhaps more important than all the rest, distribution and marketing. Now you’re well positioned to reap the ultimate fruits of your labors: lots of loyal fans who respect your writing and you as a person, and who will go right on buying your self-published books. You put me in mind of a long-ago commercial for Smith Barney: “we make money the old-fashioned way. We earn it.”
Barry–It’s an important point to keep in mind. I also had the benefit of timing…at the time (late 2011), I was one of the first cozy mystery authors to pop on the scene as a self-pub. I undercut everyone’s prices in that genre (including my own) and it worked out well for me. That was pure luck.
I remember those commercials! Had the actor who played the prof in “Paper Chase,” didn’t it?
John Houseman, if memory serves–as it often doesn’t.
Bingo! That’s the name. Great actor. Perfect for that ad, too.
I get you and many authors I (virtually) know take pride it taking initiative.
But I’m glad you said this-
“I know some writers state they have no time for learning self-publishing and no money to be able to pay a cover designer or formatter upfront.”
This is where a lot of authors, myself included, struggle and I appreciate that you acknowledge authors who can’t indie publish, and not always for a lack of will, but lack of money and building a team that helps things “run themselves” as you put it in your post above.
Believe me, I don’t want ANY writer, however they publish, to get less than they deserve and worked countless hours few of us on the outside ever see.
I understand traditional publishing has it’s problems. But indie publishing isn’t perfect either. Plus, as you clearly state above, Elizabeth, it takes serious investment. Part of that investment is financial.
This is what people who say “Just do it” don’t always accept or understand.
Elizabeth, you say you prefer indie publishing, but to do it right takes considerable investment, and not everyone has that upfront cost ready in hand.
While I sold my novel “GABRIEL” to a , the get the book the best cov, I had
It puts more on me upfront, but I TRY REALLY HARD to see this as the opportunity to have the creative control I’d otherwise might not get, but I have to turn to crowdfunding to finance that.
My publisher is NOT “hoodwinking” me, I’m still getting the editing and print run I simply couldn’t finance all on my own. It’s taking all I have to save up for sketches to use for the crowdfunding campaign, as I know campaigns with some tangible visual representation of the book will aid in people seeing the project more viable and increase the likelihood it would fund.
I say this not to pity myself, only to expand on your points above, and offer perspective as someone who’s in the middle place between having a traditional publisher, but because of it’s small (non Big 5) nature, I may get more direct contact with my publisher, but I have to give a lot more to produce the best possible book BEYOND the actual story.
While I might have less creative input on design, covers, etc at a larger publisher, but I also don’t have to panic about affording the print run all on my own either.
But I agree traditional publishers need to give more and be willing to negotiate with authors pre and post publication.
When we writers teach other about this industry, we sometimes forget that we’re only human, and I have room to talk here because I’ve more breakdowns than I care to admit on this topic. I often fear publishers are so zealous about getting their authors to do more, we’re still only ONE person.
I can no more be an expert in all areas of marketing anymore than they can “guarantee” I’ll be on a bestseller list or win an award.
I know that’s been true of the campaigns I’ve been part of, both financially, and spreading the word, and would later review these books on “Talking Animal Addicts.”
I’ve done the math, and at this point and time, I couldn’t do it and have it be the professional end product it needs to even be noticed, never mind read.
While I agree “Publishers sometimes use the argument that business costs involving book design necessitate the royalty plan. But we all know excellent covers aren’t worth having low royalty rates for our lifetimes (and they certainly don’t cost that much for publishers).” the fact is covers DO MATTER, but I agree using cover design, and illustrators as a “carrot and stick” diss to authors isn’t right or helpful.
Again, thanks for acknowledging authors are often torn between finances, principles, that any battle of art and commerce is bittersweet at times. I hope more indie authors learn to see that while you were able to make this work, it’s not as straight, and not to take for granted the skills and the means that allow you to indie publish well that is not as straightforward for me or others. Not I refrained from the “E” word. This isn’t “easy” for anyone, even a less than professional effort still took SOME effort.
Taurean, thanks so much for coming by and giving your thoughts here. Yes to so much here. The financial consideration is huge and covers are THE most important marketing tool our book has. You’re absolutely right.
What I hate is that we’re all put in this position…submit to (with some, not all publishers…and perhaps we should be more wary of the biggest publishers) a rights grab or shell out personally for an awesome cover. My Penguin covers are all fantastic. They’re hand drawn and you can’t get hand drawn in the freelance market without laying down some major money (from what I’ve been able to discern, about $1,000). So…I haven’t. With my self-published books, keeping my cover to a $300 or lower budget, I asked designers to go in the vector illustration direction. Was this a marketing decision for me? No, definitely not…it was purely a budgeting consideration. Which is a pity, because I’d rather make decisions like my publishers do–solely on artistic merit and promo appeal. The reality is different, though. Although I’ve been really pleased with what I’ve been able to do on a budget. As you’re saying though, it’s putting us all in a tough position.
If terms could be better for writers, then I think many of us would feel better about going with trad pub/indie pub. Even if they bent on some of the issues that I brought up and not all of the issues.
Some will see fairer trad pub contracts, too. They won’t all be loaded with non-competes. We all just need to be aware that there are contracts that are out there like that so we know exactly what we’re getting into when we make our choices.
You’re right also and it’s worth my reiterating: leaving trad pub worked for *me*. But I was in a good position to leave. I had nine trad-published books and an audience.
But remember…you don’t *have* to do what the publisher asks for marketing (you mention your publisher really pushing you here). Don’t knock yourself out. I’ve been there and it was exhausting. Write more books. Put more books out there. If one publisher dumps you (I’ve been dumped before), query others or take your series indie (that’s how I started self-pubbing…with a discontinued series). And there are more and more micro presses out there looking for good material. And keep looking for an inexpensive, excellent designer…just in case. It’s always good to have one in your back pocket.
Thanks for replying, Elizabeth, I really do appreciate you get the process of indie publishing is not immediately accessible to everyone, and I especially thank you for acknowledging that often it’s “lac of money” to do it right rather than “lack of will” to work hard.
You have to work hard either way, but despite earning less with various trad. publishing methods, you’re also not having to orchestrate the actual printing of the book, and that’s often more expensive than even hiring both a cover designer and illustrator (if your book has illustrations, mine’s a children’s book so it will have them if I can fund my eventual campaign) combined!
That’s also why I take issue with the “Quantity/Long Tail” defense lots of indie authors make. Yes, more books means more opportunities to sell and build a readership, but if you’re footing the bill for every aspect of the process, that’s a lot of upfront costs before you can even think of reaching any kind of cruising gear that you describe as “Taking care of itself.”
I say this not to be negative or downplay what you’re saying, as I’ve seen it work for lots of writers, but only to broaden the point that not everyone is capable of that upfront investment, and as hopelessly impatient I can be at times, this is an issue than “just writing more books” will not solve regarding indie publishing in the big picture sense. I hope that makes some sense.
I think we can learn that “Life is Short” lesson too well when it blocks us from any sense of patience.
Just because this business takes time doesn’t mean we want EVERY part of the process to take a decade or more, that’s very different than saying “I want it all NOW” at least I’d like to think that myself.
Don’t misunderstand, though, I’m not complaining about my publisher, and they’re not pressuring me, but I’m just trying to offset their limitations in budget while also making use of what they’re offering me, a
Also, this is my first book to be published versus your long-running series that has a sizable readership, so I feel I don’t have the leeway others do because they have a loyal enough readership that they’ll cut you some slack.
If anything, those of with fewer books to our name feel more pressure to make a great first impression, and the lien between settle versus sellout is not always is clearcut as it looks to those outside the industry.
Yes, having more than one book is always a good thing, but it took nearly a decade to get “GABRIEL” to the level where it sold three years ago, and progress on books post my debut are stuck, and I’ve had to accept that I don’t work in a speedy “assembly line” fashion.
There’s a difference between writing 10 books and those same 10 books being equally high quality. That includes taking into account revising and/or rewriting as needed, BTW.
Part of why I turned to crowdfunding in the first place is because I didn’t want to go the vector premade illustration route, and because I was getting the editing and print run I couldn’t finance entirely on my own, I see working harder to get the cover and illustrator that would really make the outside of the book match what I’ve toiled to create within.
Again, the advantage here is that I’m getting more creative input that I’d get otherwise, even if I have to struggle to get it, and as tear-inducing as this has been, I try to see this as an asset versus a “demining” drawback.
Unlike some writers I know, I didn’t come to publishing with an innate entrepreneurial spirit, Iv’e had to learn it in pieces, and it’s not the most natural mindset for me, but I’m also not going to let this prevent from doing SOMETHING.
Besides, as this is my first book, I want the first impression to be “This is professional and unique” and I couldn’t achieve that any other way.
Not that I’m criticizing you or anyone else who needed to settle,
After all, you have to admit it that being conditioned to setting a “high standard” doesn’t help make settling for less (RE: Design) an easy place to get to.
Market guides and publishing insiders have conditioned us to believe “Good Enough” is nowhere CLOSE to good enough.
But sometimes, it’s either “Good Enough” or it’s never going to happen.
That’s where you and lots of authors I know are at. I compromised (in a GOOD, non-shady way) on my publisher for “GABRIEL”, but I will not compromise in ways that prevent me from having a book I can be proud to have my name on, in the most non-egocentric way I can put it.
Thus, I’ve worked on and off on my crowdfunding campaign for over a year.
Oh, illustrations make a huge difference, yes. I know a lot of authors have used crowdfunding for projects and it’s a tough process but can be very rewarding.
Your general outlook and approach and positive frame of mind toward all the aspects of your work will serve you well in this business. Best of luck to you!
Great post. Looks like things have definitely changed for big publishers and are going to keep changing.
Dan–I’m hoping they start adapting a bit quicker. Thanks for coming by!
Right on, Elizabeth! The number one element missing from my relationship with my publisher, Berkley Prime Crime (Penguin) was and is ANY sort of advertising or advertising. I just don’t understand it–what other business creates a product and then makes no effort whatsoever to sell it? I would never have signed the 3-book contract if I’d known my books would be ignored afterward. Trying to get my rights back to my three mysteries there…
Pamela–I’ve got a series with Berkley, too (as Riley Adams). I got my rights back fairly quickly for NAL but was told their legal department was a bit chaotic with the merger. So just keep being persistent!