why go indie

Business Musings: Things Indie Writers Learned in 2014

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This post by Kristine Kathryn Rusch originally appeared on her site on 12/23/14.

I’d love to say nothing, but that’s not true—if we’re discussing indie writers who have remained in the business for several years. There will always be new indie writers who know very little, and there will always be those with “experience” who turn a year or two worth of sales into a know-it-all platform.

However, those indie writers who’ve been at this since the beginning of the self-publishing revolution in 2009 have learned a lot in 2014. Like last week’s piece, “What Traditional Publishing Learned in 2014,” this week’s will be my opinion. Next week, I’ll examine what I learned (or relearned) in 2014, before moving to brand-new topics.

A few bits of organizational business: Unlike my previous two blog series, The Freelancer’s Survival Guide  and The Business Rusch, Business Musings will appear irregularly. Sometimes it’ll show up in the old Thursday slot like last week’s, and sometimes it’ll show up on a different day like this week’s. Sometimes it’ll be long (like this week), sometimes there will be two or three posts in a week, and sometimes there will be none. If you worry that you might miss one, check back and look at the tab Business Musings under either the Business Resources or Writer Resources in the header.

Also, please note that, as in the past, I’ll be using “indie writer” instead of “self-published writer,” following the music model. I’ll also talk about “indie publishing” instead of “self publishing,” because so many writers who are not with traditional publishers have started their own presses. It’s not accurate to lump all writers who are not following the traditional route into the self-publishing basket any longer, if it ever was.

So, back to the topic at hand. What did indie writers learn in 2014? I wish they all learned the same things simultaneously, but they didn’t (and won’t). I also wish that there were indie writer financial statements, like there are financial statements for the big traditional publishers (which is what I based much of last week’s piece on).

Even if indie writers have formed corporations, those corporations are privately held, and therefore the quarterly financial reports are not public. Privately held companies do not need to list their earnings to anyone outside of the company (except the IRS), and therefore the smart ones do not.

So, in this blog post, I’m piecing together a lot of other people’s blog posts, anecdotal evidence, and just plain common sense. In other words, good old journalist me feels a bit uncomfortable, even though this is an opinion piece, because I don’t have as much quantifiable information as I’m used to for these blogs.

What have indie writers learned?

 

Read the full, very lengthy (and very much worth reading in full) post, which goes into detail on 15 specific lessons learned, on Kristine Kathryn Rusch’s site.

 

Don't Pay to Self-Publish

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This post by J.A. Konrath originally appeared on his A Newbie’s Guide To Publishing on 11/23/14.

My name is Joe Konrath, and I write fiction.

I’ve sold over a million books by self-publishing.

You probably were searching for “how to self-publish” or something similar and my blog came up.

This post for all newbie writers considering self-publishing. While it would be extremely helpful to you to take a week and read my entire blog to get a full understanding of how the publishing industry works, here’s the most important thing you need to know:

DON’T PAY ANYONE TO PUBLISH YOU.

Now you can certainly pay people to help you publish. Freelancers such as editors, cover artists, book formatters, proofreaders, and so on.

But when you hire a freelancer to assist you, you keep your rights.

That’s very important.

When you write something, you own the copyright. That’s automatic, even if you don’t register with the copyright office.

Copyright means exactly that; you have the right to copy it, to distribute it, to give it away, to sell it. You own those rights.

But if you pay someone to publish you, you GIVE THEM YOUR RIGHTS.

NEVER GIVE ANYONE YOUR RIGHTS.

There are many publishers, called vanity presses, that exist to prey on writers who don’t know any better. These presses are sometimes part of big, recognizable publishers, and it’s easy to be tricked into thinking that if you pay hundreds, or thousands, of dollars, you’ll be published by a major press.

The truth is, major presses PAY THE AUTHOR, not the other way around.

I have sold books to major publishers, and was paid hundreds of thousands of dollars, and then I had to hire lawyers to get those books back so I could self-publish them. Because I make 10x as much money self-publishing as I did by selling my rights to publishers.

If you are looking to get a publisher, do your research.

Check out David Gaughran, Writer Beware, and Preditors & Editors. They have a lot of information about publishers you should avoid.

Learn all you can about vanity presses. Don’t get suckered in.

Ask questions. Seek answers. And DON’T PAY ANYONE TO PUBLISH YOU.

Now some Q&A.

Q: I saw an ad for a publisher. Are they legit?

 

Read the full post on A Newbie’s Guide to Publishing.

 

The War of the Words

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This article by Pete Gessen originally appeared in Vanity Fair‘s December 2014 issue.

Amazon’s war with publishing giant Hachette over e-book pricing has earned it a black eye in the media, with the likes of Philip Roth, James Patterson, and Stephen Colbert demanding that the online mega-store stand down. How did Amazon—which was once seen as the book industry’s savior—end up as Literary Enemy Number One? And how much of this fight is even about money? Keith Gessen reports.

 

I. Discovery

Otis Chandler is a tall, serious, bespectacled man in his mid-30s whose grandfather, also named Otis Chandler, used to own the Los Angeles Times. Chandler grew up in Los Angeles, attended boarding school near Pomona, and then, like his father and grandfather, went to Stanford. Upon graduation he entered the computer field. Because it was the turn of the millennium, that meant working at a start-up: Chandler found a job at Tickle.com, which was an early venture in social networking. At Tickle, Chandler eventually became a project manager, starting a dating site called LoveHappens.com. It did O.K. In 2004, Tickle was acquired by Monster Worldwide, parent company of Monster.com, the huge job-posting site, and about a year and a half later, Chandler left.

He started to think about what he should do with himself. One day, while visiting a bookish friend, he had what he calls an epiphany. “He had one of those bookshelves in his apartment,” Chandler told me when I met him in San Francisco. “You know what I mean, the bookshelf when you walk into someone’s house, the one where they keep all their favorite books. I walked into his living room and started checking out his shelf and just grilling him, like, ‘That looks cool. What’d you think of it? What’d you think of that?’ ” He left his friend’s place with 10 good books. “I was like, if I could go to all my friends’ living rooms and grill them about what books they like, I would never lack for a good book again. But instead of doing that, why don’t I just build a site where everybody puts their shelves in their profiles?”

 

Read the full article on Vanity Fair.

 

The Perks, Pitfalls, and Paradoxes of Amazon Publishing

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This article by Nina Shapiro originally appeared on Seattle Weekly on 11/4/14.

Amid a boycott and bicoastal culture clash, Amazon has created a new model of publishing. Where does that leave authors?

One day in 2012, Megan Chance, a historical-fiction writer from the Kitsap Peninsula, arrived at Amazon.com’s South Lake Union headquarters for a meeting. The retail giant’s sleek new campus was bustling with software engineers of various nationalities, marketing mavens, and MBAs. The floor Chance visited, though, was practically empty. “There were, like, four people there,” Chance recalls. “It was bizarre.”

The two-decade-old online retailer was still getting a relatively new and little-understood division going—one devoted not only to selling books on the vast digital platform it had created, but also to publishing them. With the frenetic speed of a start-up, Amazon Publishing had in a few years launched a series of imprints devoted to different niches: mystery, romance, historical fiction, science fiction, and more. Now, the company’s fledgling imprint devoted to her genre, Lake Union Publishing, wanted to publish Chance’s latest work, Bone River, a novel about a 19th-century ethnologist who develops a mystical connection to a mummy.

Chance, in her early 50s, was at a low point in her career. She had spent two decades writing books that languished on bookstore shelves, caught in what she believed was a “vicious cycle” common to the publishing world. She had sold her first book to Hachette, which saw enough promise in the work to give her a big advance. The book sold poorly, though, and the publisher paid for a smaller print run the next time around, according to Chance. Those numbers weren’t great either. After that, she says, Hachette “was done.” She moved on to another publisher, where the downward spiral continued.

She was ready again for a new publisher with Bone River, but the New York publishers she approached didn’t bite. “Come back to us when you have better numbers,” she recalls being told.

 

Read the full article on Seattle Weekly.

 

Should You Publish Indie or Traditional? A Hybrid Author Busts the Myths

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This post by Holly Robins originally appeared on her site on 8/17/14.

Yesterday, I gathered with a group of area writers at the Haverhill Public Library Authors Fair. My table was situated between Kristin Bair O’Keeffe, an author who publishes traditionally, and Connie Johnson Hambley, a self-published mystery writer. This was the perfect place for me: I’m a hybrid author who has jumped from a traditional publisher (Random House) to indie publishing and back to a traditional house again. As I start my fourth novel to be published by New American Library/Penguin Random House, I have no contract for the next one. This means that I’m revisiting the all-important question for many writers: do I want to go solo when I publish my next book, or stay where I am?
This is a good time to roundup what I’ve learned about publishing. In the process, I want to dismantle four common myths:

1. Publishers are Out to Screw Authors
MYTH. Publishing companies are businesses that compete in a global marketplace. Their job is to make money—and, in so doing, they will make money for you.

With a traditional publisher, you will get royalties from your books—typically about 25 percent of ebook sales. This is much less than the percentage of royalties you’ll get if you self publish. Rates vary, but with self publishing, you’ll reap about 65 percent of a book sale as your royalty rate.

On the other hand, with a traditional publishing deal, you will get an advance against royalties—anywhere from $5K to $45K for most first-time novelists, though of course there are some pie-in-the-sky whopper deals. You will also get—for free!–an editor, publicist, marketing team, designers, sales people, etc. Your team at a traditional publisher will help you whip your book into shape and get it into the hands of readers.

 

Click here to read the full post on Holly Robins’ site.

 

The Self-Publishing Revolution Is Only Just Beginning.

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This post by Joanna Penn originally appeared on her The Creative Penn site on 9/21/14.

Reflections On My Stockholm Trip

I spent a couple of days in Stockholm last week, and did three events in just over 24 hours for Lava Forlag, meeting authors at all stages of the journey. Here are my reflections on my time there.

The indie revolution is expanding…and it is incredibly exciting to see the light dawning in people’s eyes.

The Swedish publishing industry is still in the old traditional, print dominated way of doing things right now. Ebooks haven’t taken off yet, Amazon hasn’t opened its .se store and authors are still focused on the route of agents and publishers to reach readers.

I was told that the biggest publishers are integrated with the media companies – in the same way as Rupert Murdoch’s NewsCorp owning Harper Collins, the Fox Network, The Times and the Wall Street Journal.

When big media owns all the publishing channels, there is little chance for the independent voice against such established behemoths. But change is coming…

I was asked to Stockholm by the lovely Kristina Svensson, an indie author who sees the digital future coming to Sweden in the next few years. I spoke to the audience of authors about my reality, the world I live in, where authors are writing what they want, publishing what they want, and in many cases, making a decent living from their words.

 

Click here to read the full post on The Creative Penn.

 

Want to Successfully Publish? First, Are You a “Real” Writer?

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This post by Kristen Lamb originally appeared on her blog on 9/15/14.

For many writers (me included), we don’t start off with the confidence to yell to the world, “I’m going to be a professional author!” Heck, I wrote a 178,000 word “novel” and still didn’t believe I was a writer. Later, I had over a year and a half of consistent blogging under my belt, multiple short stories, and newbie novels that had been at least good enough to win prestigious contests and yet….

I was not a “real writer.”

Schrödinger Writer? If you put a writer in an office at a keyboard, is the writer alive or dead (real or fake) until the book is published?

 

We’ve Come a LONG Way, Baby

The literary landscape has shifted dramatically. More avenues of publishing have opened and become appealing, thus this silly question of, “Are we a real writer?” holds far less power. Believe it or not, when I began blogging, I dedicated countless posts to answering this very question. In retrospect, I did it for me as much as for others.

I’ve always asserted that we are what we do. What is our primary career focus (beyond a necessary day job)? The second we sit at a keyboard and write, we are writers. Yet, as my first “novel” glaringly illustrates, we might not yet be a “good writer.”

 

Click here to read the full post on Kristen Lamb’s blog.

 

Writers as Casualties of Commerce

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This post by James Scott Bell originally appeared on The Kill Zone on 9/14/14.

Since 2009 or so, the so-called midlist at traditional publishing houses has dried up faster than a mud patch in the Serengeti. The bleached bones of writers who did not earn out are scattered around in random configuration. On the parched ground near a scorched femur can be seen a message scratched in the dirt, a last call from a thirsty scribe: Help! My numbers suck!

I’ve heard from many friends and colleagues about traditionally published writers––some who have had relationships with a house for a decade or more––seeing their advances drop to record lows, or not being offered another contract at all.

And then what? What happens to these foundering careers?

Two writers give us answers. The first is Eileen Goudge, a New York Times bestselling author. She had a soaring career in the 1990s, and even a power marriage to super agent Al Zuckerman. That’s how I became aware of her. Zuckerman wrote a good book on writing blockbusters where he recommended reading Goudge’s Garden of Lies. I did and loved it, and read another of hers a bit later on.

So I was gobsmacked last month when I read a post by Goudge about her travails as a casualty of commerce. She describes what happened to her and many other writers this way:

 

Click here to read the full post on The Kill Zone.

 

Ten Key Things You Need To Know About The Self-Publishing Industry

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This post by blurb staff originally appeared on the blurb blog on 9/2/14.

Before you take the leap, look over the ledge. The more you know about how self-publishing a book really works, the better off you’ll be in the long run. Here are ten truths that may not be exactly self-evident, but will help you make better decisions, spend less money, and create the book you’ve been dreaming about.

 

1. Self-publishing is simple.

It’s making a book for yourself. No more, no less. You won’t have to pitch your book to a publishing house that likely isn’t interested, you won’t have to hire an agent to represent you, and you won’t have to bargain for royalties and advances. It’s just you, your talent, and publishing and marketing tools provided by a platform or service.

 

2. Self-publishing is complicated.

That’s all very true, but you’ll still find yourself facing a world of decisions. From relatively simple ones to book size and cover type to huge ones like which self-publishing platform to go with, you’re on the hook for every aspect of the journey. And, unfortunately, there aren’t many short cuts. While the challenge can be fun, be aware that you’ll need to become an expert (or at least aware of) a whole new world. Royalties, typesetting conventions, ISBNs, distribution, marketing trends—–you’ll need to learn a lot if you want to succeed. Luckily, there are a lot of guides out there to help you on the way.

 

Click here to read the full post on the blurb blog.

 

In Defense of Amazon

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This post by Neal Pollack originally appeared on Slate on 9/2/14.

I’m a writer, and my experience with this supposedly evil corporate behemoth has been fantastic.

Last August, Amazon flew about 80 writers on its Thomas & Mercer mystery and thriller imprint—including me—to Seattle for a conference. They put us up at the Westin downtown, a nice hotel by any standard, and spent the weekend feeding us well and serving us top-shelf booze at an increasingly fabulous series of parties. There were tourist outings, the usual conference mix of panels and workshops, and a non-stressful visit to the Amazon Death Star. Also, they gave us a free Kindle Paperwhite, a nice touch.

With a few exceptions, none of the writers at the conference were particularly famous; some had only published one or two books, all with Amazon. The Seattle trip wasn’t normal treatment for them, or for anyone. I’ve published books with independents and with big corporate imprints, and I’ve published books on my own. Each of these experiences was positive in its own way. But never before had I been treated quite like this. It felt like I’d entered a glorious new age. Amazon had given me a free sneak preview of what book culture would be like from now on.

As usual, I was naive.

 

Click here to read the full post on Slate.

 

Konrath's Advice to Publishers

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This post by J.A. Konrath originally appeared on his A Newbie’s Guide to Publishing blog on 8/17/14.

Over four years ago I wrote a blog post about ebooks:

Joe sez in May 2010: I’d always assumed that print publishers would begin to lose market dominance once ebooks took off in a big way, and they’d have to either restructure or die.

But now I’m predicting another death for them.

What is going to happen when authors stop sending their books to publishers?

If I know I can make $100,000 on a self-published ebook in five years of sales, and I have the numbers to back up this claim, why would any informed writer–either pro or newbie–ever settle for less?

The dominance of ebooks is coming. I have no doubt. But I always thought it was the readers who would lead the charge, based on cost and convenience.

Now I’m starting to believe that the ones with the real power are the ones who should have had the power since the beginning of publishing. The ones who create the content in the first place.

The authors.

It’s a wonderful, dynamic, empowering time to be an author. For the first time, we can command our own ships.

We’re the ones who write the books. We can reach readers without any gatekeepers at all. And we can make money doing it.

The print publishing industry’s biggest fear shouldn’t be the eventual dominance of ebooks over print.

 

Click here to read the full post on A Newbie’s Guide to Publishing.

 

These Romance Writers Ditched Their Publishers For Ebooks — And Made Millions

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This article by Mandi Woodruff originally appeared on Yahoo! Finance on 8/1/14.

In early 2010, things weren’t going very well for San Francisco-based romance novelist Bella Andre. Brick-and-mortar bookstores were shutting down in large numbers, and after seven years, eight books and two publishers, she learned she had been axed from her latest contract.

“I was hanging on by my fingernails,” says Andre, 41, who was trying to carve out a niche in contemporary romance. Peers advised her to try a different pen name, to change genres, to write anything but love stories. With a degree in economics from Stanford University and a background in music, she wasn’t short on career options.

Then a friend suggested she look into self-publishing. At the time, Amazon.com’s  (AMZN) direct publishing platform, which allows just about anyone to publish and sell their books online, was beginning to gain traction among professional writers. After years of bending her stories to the will and opinions of publishers, editors and literary agents, Andre found the prospect of having complete autonomy over her material very appealing.

“As an author, I was not high up on the publishing food chain and [my ideas] were rarely ever listened to,” she says. “I took my friend’s advice and I dove right into self-publishing.”

 

Click here to read the full story on Yahoo! Finance.

 

Self-Publishing as a Means to My Own Literary Revolution

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This post by Tejas Desai originally appeared on Publishing Perspectives on 6/26/14.

Much bluster has been made recently in the media regarding the Amazon-Hachette dispute, with multimillionaire authors, agents and self-published writers, among others, weighing in. Most have condemned Amazon for its bullying tactics in negotiations with publishers while self-published authors like Barry Eisler and J. A. Konrath have defended it for democratizing the field. Much of the rhetoric has involved terms like “sales figures” “copies sold” “promotional fees” and “marketing development.” Very little of the conversation has been about the more important issue of the current state of narrative and where literature is headed.

I published both my books, The Brotherhood (2012) and Good Americans (2013), through my own company The New Wei, after being frustrated with the traditional industry and the type of literature it was producing. I found most literary books I read to be bland in content and only passable in style. They often seemed to have some non-fiction market angle that hoped to sell the book and justified the authors getting teaching jobs and never publishing future books. Yet all of these books were acclaimed by major critics, newspapers, magazines, publications and writers, which caused me to question their impartiality, or at least their taste.

As someone who worked at a literary agency for years, I already knew how random publication tended to be and how difficult it was to sell a book. Most books never sold and those that did rarely earned out their advances. The contract terms were absurdly tilted toward the publishers and authors didn’t have much say in presentation or marketing. Most authors never got agents, and it had little to do with quality. Usually, it was just luck. Still I continued to have some faith in the industry even as I left it, became a professional librarian, received a MFA, wrote and rewrote my works. And while I received initial interest from several agents, I never got one. Even the independent publishers rejected it. All their stated reasons were different.

 

Click here to read the full post on Publishing Perspectives.

 

So You Want To Make A Living Writing? 13 Great Truths

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This post by Bob Mayer originally appeared on his Write on the River site on 7/6/14.

This is the flip side of my 13 Harsh Truths post of 29 April.

It’s a great life. I’m my own boss. I wear shorts and t-shirts to work, which is in my house. I sit at my desk with a great view of the TN River with a blank stare, drool running down the side of my mouth, and I’m working. Well, not really. Because no one’s paying me for my great thoughts. They’re paying for my writing. I’ve been doing it for over a quarter of a century and here are some Great Truths I’ve learned about making a living as a writer.

1. You can. You constantly hear “No one makes a living writing novels.” I’ve heard it for decades. In 2012 I was at a conference where I gave a keynote, then was listening to another keynote speaker saying “Don’t quit your day job”. And it started to worry me, until I realized my day job was writing. So I didn’t quit.

2. It’s the best time ever to be a writer. I’ve been doing it for over 25 years and have heard all sorts of gloom and doom, but I can honestly say, I don’t think there’s ever been a better time. That’s not to say it isn’t an extremely confusing time, but that’s why I’ve done other blog posts on that, including one about 99% of advice coming from 1% of authors.

3. There is more information than ever before out there. Which could be bad too, but seriously, you can garner a wealth of information about the craft and business of writing without leaving home.

4. Leave home. One of the greatest mistakes I made in my early writing career was not networking. Even in self/indie publishing, it’s key to network with people. I know you’re an introvert, but get out there and talk to people. It’s a people business. And network with a couple of other serious writers on your craft. I’m not a fan of large writers groups getting together and doing line by lines, but 2 or 3 serious writers working on story, like we do in Write on the River, is invaluable. Find better writers than you to work with.

  

Click here to read the full post on Write on the River.

 

Why Self-Publishing Authors Must Think Like a Publisher

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This post by Stacey Aaronson originally appeared on The Savvy Book Marketer on 3/18/14.

So many authors write for their love of writing or their desire to share their story or message, but if we want to sell books, it’s important to treat publishing like a business. In today’s guest post Stacey Aaronson discusses the mindset of thinking like a publisher.

After working with over twenty independent authors over the past two years as their editor, book designer, and publishing partner, one glaring issue has come to light:

The majority of self-publishing authors don’t realize that they can’t merely think like a writer; they must think like a publisher—if, that is, they want to sell books.

The thing is, it’s not easy for writers to shift into this mode of thinking—and I would venture to guess that most writers don’t even know they should be thinking this way before they even begin a manuscript. As a writer myself, I confess I didn’t consider the publisher’s mentality until I became a book production professional in the indie publishing realm, so I know firsthand how foreign it can seem.

But here’s the unsavory truth: the various self-publishing portals that have opened the door for would-be authors to get a book into readers’ hands are great, but many writers are running to upload all degrees of manuscripts—from the languishing and rejected, to the unedited and poorly designed—without honoring the legacy of traditional publishing. In short, thousands of substandard books are entering the literary marketplace because a multitude of writers are sadly stuck not only in ego mode, but in the belief that producing a book is somehow not a craft and an art. If we don’t want to destroy the reputation of books altogether—and if we want to reap a financial benefit as an author—this mindset has to change.

 

Click here to read the full post on The Savvy Book Marketer.