Tag Archives: traditional vs. indie publishing

Making the Case for Indie AND Traditional Publishing (For Writers and Readers)

by Kassandra Lamb

I envy writers under thirty. Not for their youth, but because they have never known a publishing world where indie publishing wasn’t a viable alternative.

But I’ve heard even some younger writers make comments that indicate they think indie is what you do if you can’t get a traditional publishing contract. In other words, it’s a second choice.

Actually, for some of us, it was a first choice.

And sadly there are a few traditionally published authors who like to judge indies from the other side of the fence. (See Part I of this series: Creativity, Sensitivity, Laziness and Courage.)

For the newbie authors out there (or those considering jumping the fence), I will try to spell out the differences between the two paths. Also, I want to mention the pros of each for readers, the most important people in this whole arena!

I will try to be balanced, but I’ll warn you all up front, I am biased toward the indie path, since that’s the one I chose. To help counter that bias I’ll let trad publishing go first. And I’m trying to stay positive by focusing on the “pros” of each (the cons are mostly implied).

K.B. Owen, one of my sister authors here at misterio press, generously offered the graphic she developed for a presentation on publishing she gave recently. It gives us a great jumping off point.

chart of pros of each

(Chart created by K.B. Owen (c) 2016)

TRADITIONAL PUBLISHING PROS

Validation:  The author can feel confident that their story idea is worthy and that their writing is good. Trad publishing gives it the stamp of approval of the industry.

For the reader, this means the odds are good that you will enjoy reading this book, that it will abide by the expectations for its genre and will only have the good kind of twists and turns, not the kind that leave you thinking “Huh?” or have you dangling off the edge of an unexpected cliffhanger.

Access to Experienced Professionals:  You don’t have to find your own cover artist, editor or proofreader. The publisher provides all that. They prep your book for publication while you are writing the next one.

For readers, this means you usually won’t find any major plot holes or other writing faux pas and the typos will be minimal. (I say “usually” because I’ve found more typos in recent years in all books, indie and trad-pubbed, but then maybe I’m more sensitive to them now that I’m writing and publishing fiction myself.)

Visibility/Publisher Promo:  Visibility is probably the traditional publishers’ greatest “pro.” They have the ins with the retailers, the distribution networks, etc. that make it easier for readers to find a new author. They especially have an advantage in the distribution arena, as indies have to struggle to get their books into physical bookstores. They fall a good bit short, however, in the promotions area (more on this in a minute).

bookshop interior

Photo by Bahrain International Airport (The Bookshop @BIA) CC BY-SA 2.0 via Wikimedia Commons

Readers don’t have to go searching for new releases in bookstores or hope that their spam filters don’t keep them from seeing their favorite authors’ newsletters announcing said releases. Traditionally published new releases are more likely to be on the front displays in brick-and-mortar stores and front and center in the promos by online retailers.

No Upfront Costs/Author Advance:  The publisher shells out for cover art and editing. The author pays nothing, and may even get paid upfront via an advance (although these are not as sure a thing as they once were, and are usually small for new authors).

This means readers usually see well-designed covers and good editing.

INDIE PUBLISHING PROS

Creative Control/Flexibility:  This is one of the big advantages for indie publishing. You may have to find your own editors and pay them, but if you don’t like the changes they advise, you don’t have to accept them. Likewise, you find and pay your cover artist but don’t have to live with a cover you don’t like.

Related to this is flexibility. The writer doesn’t have to beg the publisher to correct typos that readers have pointed out. You can go in and upload a corrected text file yourself. (But you have to do this; not some worker at the publishing house.) You also control where the book is sold, how much it’s sold for, whether or not it is discounted, etc. And you can change things up to discover what works best for your books.

sculpture - "Modern Book Printing" on Berlin Walk of Ideas

“Modern Book Printing” sculpture on the Berlin “Walk of Ideas” (photo by Lienhard Schulz, permission by Scholz Friends Sensai, agency of Walk of Ideas, CC BY-SA-3.0, Wikimedia Commons)

For the reader, this means more innovation—new ideas, new writing styles, etc. Writers aren’t producing what their publishers and editors want; they’re producing what they think you the reader wants. And you let them know if they’re right via your reviews. But it can also mean crappy books with poor or no editing.

Books Get To Market Faster:  In traditional publishing there is up to a two-year lag from the day the contract is signed and the date of actual publication. That’s a long time to wait to see your baby in print and to see money coming in for your efforts. Most indie authors can write, polish and publish a good book in about six months. This means you have readers and royalties sooner instead of later, and many indies find that they can publish more books in a year this way. (I average 3 per year.)

More books means more visibility, more readers, more royalties.

For readers, you’re getting books based on this year’s trends, not those of two years ago. And your favorite indie authors are probably releasing new stories more often.

Paid Promptly/Better Royalties:  This is the other biggie for indie publishing. Traditional publishing royalties often lag behind by six months or more, and royalty reports may be sketchy or hard to decipher, so you’re never quite sure if you’re getting all that is due you. Indies get paid within a month or two, depending on the distributor, and they get to keep all of the royalties less what the distributors keep. This is between 35% and 70% depending on the distributor and the price point, versus 17-25% (more often 17 and one has to pay their agent out of that) for trad-published books.

Readers, indie-pubbed books are almost always cheaper. At 65-70% royalty from distributors for ebooks, these authors can make more money even at lower prices (and most of them would rather sell more books for less each).

Retain All Rights/Stays In Print:  Yes, trad publishers can provide greater visibility for the new author, but if that book doesn’t sell up to their expectations within six months, it’s almost always taken off the shelves. And then the author may have to fight to get the rights back to their own work. Indies have to work harder and often have to wait longer to get some traction, but their work is available forever, and they retain the rights.

For readers, this means that when you discover a new-to-you author, you can still get your hands on all their works, no matter how long ago they were published. (I recently discovered a great writer, only to find that all but one of her books were out of print, the one I’d just read.)

WHAT’S THE SAME FOR BOTH

Both indie and trad-published authors have to write great books in order to be successful. And they need to work with experienced professionals (cover designers, editors, etc.) to make sure their books are truly the best they can be.

AND they both have to do the bulk of their own promotions. Unless you are already a well-established, well-known entity, publishers will spend little to none of their marketing budgets on you and your book. You have to establish a “brand” and develop a social media presence, buy ads, etc.

Whatever path a writer chooses in order to get their books out there, judging or sniping at each other is uncalled for. We are not competitors. Books are not like toasters or refrigerators. Consumers don’t just buy one every few years.

Books are consumable items for readers. The main challenge is getting their attention in the crowded market today. Granted, that market has been made much more crowded because of indie publishing.

But putting down other authors doesn’t make your books rise to the top. Only great writing, hard work, and a good bit of luck will do that.

Dawn Whidden and Kass at Bell Christmas Festival

A selfie with an author I now call a friend, Dawn Kopman Whidden, at Bell, Florida’s Christmas Festival. Most folks who stopped at our table bought a book from each of us, because books are not toasters!

I much prefer the attitude I’ve encountered in most authors, a more comrade-in-arms approach. Because we’re all in this crazy business together!

Your thoughts on this, authors? Readers, do you care whether a book is traditionally or indie published?

Posted by Kassandra Lamb. Kassandra is a retired psychotherapist turned mystery writer. She is the author of the Kate Huntington psychological suspense series, set in her native Maryland, and a new series, the Marcia Banks and Buddy cozy mysteries, set in Central Florida.

We blog here at misterio press once (sometimes twice) a week, usually on Tuesdays. Sometimes we talk about serious topics, and sometimes we just have some fun.

Please follow us so you don’t miss out on any of the interesting stuff, or the fun! (We do not lend, sell nor otherwise bend, spindle or mutilate followers’ e-mail addresses.)

Creativity, Sensitivity, Laziness and Courage

by Kassandra Lamb

Please note that this is not a post about the pros and cons of indie vs. traditional publishing per se (I will cover those in a later post). Rather this post is about the “between a rock and a hard place” spot where new writers often find themselves as they explore how to get their words in front of readers’ eyes.

The indie vs. traditional publishing controversy was resurrected in December, 2016, by a Huffington Post article with the rather obnoxious title, Self-Publishing: An Insult To The Written Word? by Laurie Gough.

Quite a few indie authors immediately responded with some eloquent replies. And then the Alliance of Independent Authors published their New Year’s post: Successful Indie Authors 2016: Part One.

These two posts, along with the responding comments, represent the two sides of this controversy, but I noted that one thing was missing from the discussion. Indeed, I have never heard this point made during debates about the issue.

Creatives are, by definition, sensitive souls.

Van Gogh

One of Van Gogh’s self portraits, this one with a bandage where his ear once was. Creatives’ sensitivity sometimes leads to madness. (public domain)

It’s a cliché really—the tortured artistic poet/painter/musician/actor/author who drinks too much, uses drugs, suffers for their art with an angst-filled life, etc.

But like all clichés, this one has a kernel of truth at its core.

So why would we require that these sensitive souls endure months or years of rejection before they are allowed to show their work to the world?

The author of the Huff Post article calls literary agents and traditional publishers the “gatekeepers” of the written word. Indeed, that term is bandied about a lot in the world of trad publishing. The implication is that they are saving the unwashed masses of readers from bad literature by carefully vetting new works of fiction.

In addition to the implied insult to readers, the reality is that all too often these days agents and publishers are not always as concerned about the quality of a story as they are about whether or not they think it will sell.

That’s not just my perspective; I’ve heard agents say this at conferences. With regret in their voices, because they know good stories are being rejected and good writers are being discouraged by those rejections.

No one deals well with rejection. And the more important an achievement or some aspect of ourselves is to us, the greater the blow to our spirits if it is rejected.

During my twenty-year career as a psychotherapist, I wrote and published multiple professional articles. I had more than one editor tell me that my ability to string words together in a coherent and interesting way was well above average. (I mention this only to point out that I had good reason to believe I was a good writer.)

During that same time period, I wrote the beginnings of several novels, plus quite a few shorter stories, all of which ended up in a box labeled “fiction” when I retired and moved to Florida.

I’d considered trying to get my fiction work published many times during those twenty years. What stopped me was not doubt in my abilities as a writer. No, each time I was stopped by the reality of how much rejection I would have to endure before I managed to find a publisher.

statue of baby taking first steps

Karl Hulstrom’s statue, First Steps in Stockholm, Sweden (photo by Bengt Oberger CC-BY 3.0 unported, Wikimedia Commons)

For writers, our works are our children. We build them from scratch, their bones leaching sleep and sanity from us as surely as a growing babe in the womb leaches nutrients from his mother’s system. Then we spend weeks, sometimes months, putting flesh on those bones—editing and fine-tuning every scene, paragraph and sentence.

And then we are expected to send these innocent babes out to strangers, requesting that they please, please let our children live?

And when those children are beaten with a club and sent back to us, we are expected to dust them off and send them out again to even more strangers.

I’m sure this gauntlet of rejection has kept many a good writer besides myself from even trying to get their work published. Having our “children” abused and tossed out into the cold again and again is often more than we can even stand to think about.

I’m also sure that many agents and publishers are trying to be good gatekeepers, but when I think of the traditional publishing industry as a whole today, the image that comes to mind is not of someone standing beside a gate, checking the quality of the work produced by those who wish to pass through it.

Rather I see a dam, an artificial barrier stopping up the flow of creativity, allowing only a limited trickle of new authors’ works to pass through.

Yagisawa Dam (public domain)

Yagisawa Dam (public domain)

Five years into my retirement, I had finally finished one of my novels and polished it to the best of my ability (with the help of many beta readers and a professional editor).

I took a deep breath (several actually) and sent out my first batch of query emails. And then ran to the bathroom to throw up. The thought of the inevitable round of rejections literally made me sick.

This was the summer of 2011. After I had rinsed out my mouth and stumbled back to my computer, I asked myself why I was going through this. Life was too short, especially at my age, to intentionally torture my soul this way.

That summer, I started checking out this new trend of self-publishing ebooks that seemed to be getting a foothold in the publishing industry. That summer, I also met Shannon Esposito at a writers’ conference, and while other authors were schmoozing with the agents and editors at the obligatory after-conference cocktail party, she and I were huddled in a corner conspiring.

I’ve never looked back.

The end result of that conspiring was misterio press, an indie press that operates as an author cooperative. Today, my sister authors at misterio and I are each others’ gatekeepers. After each author’s work has gone through the beta readers, editing, etc. process, we read and critique each others’ stories to make sure we are producing the best quality mysteries we possibly can.

Misterio press is the best of both worlds for our authors, and we believe for our readers as well. They get top quality mysteries at indie prices.

Ironically, several of our authors have been approached by traditional publishers, and two of them are now “hybrid” authors. I haven’t been approached and I’m not sure what I would do if I were.

I suspect I would turn them down.

Those traditionally-published authors who look down their noses* at indies often imply (or outright say) that we are taking the lazy way out or that we lack the courage to submit our work to the “gatekeepers.”

Do not judge until you have walked a mile in our shoes. I have never worked harder in my life! And believe me, it takes a lot of courage to go it on one’s own. We sink or swim on the merits of our writing, and our final judges are the readers.

(*Note: This is not the majority of trad-pubbed authors. And if you are an author who has taken the traditional path, I’m rooting for your success! Each of us has to choose the way that works best for us.)

Book publishing today has essentially gone the same route as the music industry, toward empowering artists to reach out to their listeners/readers directly rather than having the control over their careers resting with big companies.

It’s a brave new world for authors and I am glad to be a part of it!

Your thoughts on the indie publishing revolution?

Posted by Kassandra Lamb. Kassandra is a retired psychotherapist turned mystery writer. She is the author of the Kate Huntington psychological suspense series, set in her native Maryland, and a new series, the Marcia Banks and Buddy cozy mysteries, set in Central Florida.

We blog here at misterio press once (sometimes twice) a week, usually on Tuesdays. Sometimes we talk about serious topics, and sometimes we just have some fun.

Please follow us so you don’t miss out on any of the interesting stuff, or the fun! (We do not lend, sell nor otherwise bend, spindle or mutilate followers’ e-mail addresses. 🙂 )