Self-Publishing: Running the Diagnostics

Nothing is ever simple anymore. 

Just today, I had the plumber come out to fix the faucet in my kitchen. And right from the get go, I was told he’d have to run a diagnostic. Every little possibility had to be considered, even if it turned out to be a simple problem. (Which it did, after checking who-knows-what-all.) 

There’s no more jumping in and hoping for the best. And I’m finding that’s particularly true with self-publishing. So much to be considered before one takes the plunge! Like hybrid publishing or do-it-yourself? Or whether to use a service to set up an LLC or skip setting up a business altogether? Which platform for this, what app for that? 

One has to “run the diagnostics,” so to speak, go through all the possible problems and questions to find answers. But it occurred to me that before doing anything one really needs to ask just one question: Why self-publish? Because different answers lead in different directions. It sort of reminds me of the old “Choose Your Adventure” books, so let’s take a look: 

Self-publishing/ Personal 

This writer has penned something personal, perhaps a memoir or a collection of essays. Or maybe it’s a children’s book for the kiddos. The point is, it’s personal and will not be sold or promoted in any kind of public platform. It’s for family and friends only! 

I love this kind of writing; I think it’s treasured by loved ones for years to come. But the simple answer here is that this writer doesn’t need to self-publish at all. This is a situation when just printing it up is fine. And if a writer wants more than a stapled collection of printed pages, then it’s very easy and relatively inexpensive to choose a pro printing business to make a book. 

Self-publishing/ Profit

It’s hard to quantify these writers; perhaps they’ve written a self-help book or all about a hobby, but basically, non-fiction. They know their niche audience and believe their book can make a difference. 

Or maybe they’ve written fiction, a romance or fantasy, or even a series. These books are a great fit with indie publishing as evidenced by the slew of them out there—and these authors want to be part of the fun! 

Whatever the book, these writers must decide whether they’re willing to do the work, if they have the entrepreneurial spirit to see it through, because this adventure is not all fun and dollar signs. It requires homework! Do the research—there are LOTS of great sites out there with tons of in-depth information about self-publishing—before choosing to spend all that time and/or money. 

Self-publishing/The Dream 

This is the writer who may feel the pull of self-publishing but needs a push to make the dream come true.

Perhaps she had a book (or books!) traditionally published years ago and has always wanted to see these book (or books!) back out there in the world. Does she buy back her rights, go for it? 

Or maybe her publisher just dropped her after three books and she has three more in the series—and readers are clamoring to find out more about the characters they love. Can she do this on her own? 

Or she’s written yet another book that her peers praise—but she just can’t face again the slog through agent/publisher querying, or waiting, waiting, waiting. The “life is short, just go for it” mindset. Does she dare? 

It’s tough, choosing to grab hold or choosing to let go of that publishing dream. But honestly, each writer must decide whether self-publishing is ultimately worth it. Still, it helps to ask all the questions, consider the possibilities first. Then ask again, "Why self-publish?" The simple answer may be right there at last.

~Cathy C. Hall

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3 comments Cathy C. Hall, entrepreneurship, hybrid publishing, self-publishing

Steer Your Writing Career

 

I spent probably two years listening to various podcasts and dreaming of what my own podcast would look like. When the pandemic forced us all to slow down and stay at home, I developed a plan to create a true crime podcast, using my creative and marketing skills plus all the great information I had picked up from consuming the medium. That podcast now receives at least 500 downloads per episode within a week of going live and the numbers only continue to grow. 

In today’s world, creatives don’t need permission to put our work out into the world—we only need the savvy to market it and spread the word. Because of this, I think I’ve finally come to the realization that I don’t need permission from anyone to release my other creative projects. I’ve written three novels—two are young adult and the other is middle grade fiction. I am outlining an idea for a thriller/suspense novel. One YA novel is very close to being ready for publication—it’s been professionally edited a few different times and had beta readers. 

While I haven’t seen interest from any agents, I no longer feel the need to wait for that interest. I’m a successful writer and editor in my mid-40s who believes she has something to offer readers. For example, a few years ago I wrote short story called “Monster in the Woods.” I workshopped the story and submitted it to a few different contests and literary journals. I couldn’t find it a home. Then this past October, I got the idea to produce it as a bonus episode of my podcast, “Missing in the Carolinas,” because the story was based on a real-life murder that occurred in Oklahoma. I narrated the story, used spooky music, had my daughter help me voice one of the characters and now the episode has received more than 1,000 downloads. If I hadn’t produced it, the story would still be sitting on my hard drive. I am proud that it entertained so many people in audio form. 

I’ve helped spread the word of plenty of indie authors over the years who produced solid books but couldn’t attract the attention of traditional agents and publishers. Does that mean their work didn’t deserve to be read? No way. Why have I won writing awards for both non-fiction and fiction and produced 28 episodes of a true crime podcast but don’t’ have any of my books published? Is it because I don’t deserve it? I don’t think so. 

My plan is to take the book that is in the best shape, a young adult novel titled “Between,” and use a crowdsourcing platform to raise enough money so I can hybrid publish. That model currently appeals to me as the best of both words, and in the meantime, I can continue working on other manuscripts that need more work and plug away at the podcast (while continuing to work my day job to support these creative endeavors). Have you self-published or used a hybrid publishing model? What are your thoughts on taking creative control of your own writing projects? 

Have you ever taken control of your own creative work? I'd love to hear your experiences!

Renee Roberson is an award-winning writer and magazine editor who also produces the true crime podcast, Missing in the Carolinas. Learn more at FinishedPages.com.

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7 comments hybrid publishing, Missing in the Carolinas, Renee Roberson, self-publishing, steering your writing career

Publishing Paths

Just last week, I had a fellow author tell me that members of her local writing guild didn’t know the difference between small and vanity publishing. That surprised me, but then I realized that the world of publishing has changed a lot since I started writing. 

New types of publishing have come into being and new writers are writing.  What better reason to do a rundown of various types of publishers for our readers.

Social Media Publishing. No, this isn't a term I mentioned above but anytime you write and share your work through social media, you are taking part in social media publishing.  That's what we do on the Muffin blog.  That's also what our own Renee Roberson did when she shared her novel, Between, on Wattpad.  A popular social media presence, including success on Wattpad, can lead to a contract with an agent or a book deal with a traditional publisher.

Traditional Publishing. If you go the traditional route, you submit your work to a publisher who can accept or reject it. You do not pay to have your work produced. You get paid. Books and other media are produced by a team – you (writer and/or illustrator), editor, asst. editors, publisher, designer, copy editor, etc. Because of this, you don’t always make much money on your work but you are part of a talented team.  My books are traditionally published.

Large Publishers. Large publishers or the Big Five – Penguin Random House, MacMillan, Simon and Schuster, Hachette, and HarperCollins. Although these publishers pay a substantial advance, they expect you to earn it back and then some. They are in it for the money which isn’t always a bad thing. After all, if they make money on your book you make money. But authors at large publishers seldom have  a say in cover design or marketing choices. It can be very difficult to get your work in front of one of these editors if you don't have an agent.

Small Presses. Small presses don’t pay advances or pay only small advances. They have smaller print runs. These two factors means less financial investment for the publisher. For the author this may mean a slightly higher royalty than with a large publisher. May be specialty publishers focusing on health issues, art or another narrow area. I have a friend who publishes with Magination. Her books remain in print year after year and continue to earn her money. Publishers of this type are very different from . . .

Vanity or Hybrid Publishers. These publishers may agree to publish an author’s book but expect payment up front to defer the cost of printing the book or developing the app. Not only does the author not get an advance, they have to pay money to see their work developed. The pluses? They will design the book, possibly help with the marketing and distribute. The risks? Being charged too much or not getting promised services. Do your research before signing with a hybrid publisher. I had a hybrid publisher accept a book to develop as an app. They folded and I still feel like I may have dodged a problem.

Indie or Self-Publishing. You the author are responsible for and control everything. You write, find and pay for an editor, designer, and illustrator. You keep all of the profits but you also shoulder the financial burdens. You are also responsible for marketing your work and getting it in front of potential buyers. One of my friends does this by speaking and doing workshops at churches and booking a booth at the Working Women’s Survival Show. She makes a tidy sum when she gets a gig.

You don't have to chose one and only one type of publisher. I publish through traditional publishers and through social media. I have friends with small press books who have also self-published. 

The key is in finding what it right for you and for this particular manuscript. To find out more about these and other publishing options, check out Jane Friedman’s chart on this topic. Interestingly enough, I found it while I was preparing this post.

--SueBE

To find out more about Sue Bradford Edwards' writing, visit her blog, One Writer's Journey.  Sue is also the instructor for Writing Nonfiction for Children and Young Adults. The next session begins July 22nd, 2019.

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2 comments hybrid publishing, large press, small press, social media publishing, Sue Bradford Edwards, traditional press, types of publishers, types of publishing

Self-Publishing vs Traditional Publishing vs Hybrid Publishing

As you gain writing experience and move toward publication, you have some decisions to make. Chief among them – should you self-publish, traditionally publish, or do a little of both?

I’ve been toying with the idea of doing some self-publishing since I started hearing about authors who are “hybrid authors.” Some of their work is traditionally published. Some of it is self-published. The key to doing this successfully is in understanding what types of writing benefit from each approach.

Liz Schulte started my education when I sat next to her at a conference luncheon. Liz, the author of approximately 27 self-published novels, asked me what I write. When I told her that my work is educational nonfiction for tweens and teens, she nodded. Then she said something I’d never heard before from a self-published author. “You’re work wouldn’t sell if you self-published it.”

My books sell to school and library markets that buy books from educational publishers based on the reputations of those publishers and book write-ups in School Library Journal. Self-published books don’t have access to these markets at the national level I currently enjoy.

Another benefit of traditional publishing is the access to international markets. Since my conversation with Liz, I've been doing some reading. I just read a post about whether self-published authors need agents. The author pointed out that no self-published book has become an international success. Sure enough, I’ve been keeping my eyes open as various writers announce the international editions of their books. Not a single one of these books was self-published. I don’t know if these rights were sold via an agent or the publisher, but traditional publishing seems to be the key.

Obviously self-publishing isn't all bad. It is a good choice if you have a readily defined market that you can reach without the help of a publisher. For me, that would be my fellow writers. As I speak at conferences and workshops, it would be amazing if I had a book of my how-tos to sell. The market probably isn’t big enough to interest a traditional publisher but that’s okay. I have the material. I have access to the market. And I wouldn’t have to share the money.  The market might not be huge, but that's not as great a problem when you don't have to split the profits. This wouldn't be the right choice for everything I write, but for some of my work it makes sense.

Traditional publishing, self-publishing, or hybrid publishing. Which road to publication would you chose?

--SueBE

Sue Bradford Edwards is the instructor for our course, Writing Nonfiction for Children and Young Adults. The next section of this class begins on October 3rd.

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3 comments hybrid publishing, self publishing, traditional publishing