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*Clarification*
Meaning publishers of the Mundania, Bucks County, Rogue Phoenix, Solstice, World Castle, Eternal, Musa, Damnation, Museitup, Zumaya, Wildchild etc. magnitude and type. Inspired by a new thread containing some of the same old.
This layer of publishers has fallen into a rut, which seems self-perpetuating (often manifested in a a crisis after publication—people complaining that after two years their book has sold four copies and a half), but I argue that this need not be the case.
But is the small epub instinct correct? Will they cease to exist, will the supply of authors run dry, if they begin to be open about their limitations? Not necessarily.
Concerning the last category of optimists—two questions arise:
1. Assuming one has tried to snag an agent and failed; the Big Six/Five and Small Score advance payers have also turned the book down, as have their digital-first arms and the efficient and bigger indie epubs—should that book not be banished to the void? Is it not obvious that it is no good?
No.
We would not have this enormous wave of successful self-published authors (some of whom turned down by everyone and their aunt), if this was the case. If all firms and corporations could really tell what a future hit is—we would be living in a different world. In many respects, the business is still hit-and-miss, and many of the misses we see raking in some real money from some real sales.
2. In this case, why would the writer of a universally turned down potential hit try to go for pro writing success not by self-publishing, but rather with the remaining layer of legitimate, yet not very efficient publishing houses?
1) People outside the core Amazon markets. A world does indeed exist out there, with a population of more than 6 billion, and to these potential authors, Amazon is geared very badly.
A) They rip a tax chunk (30%) out of profits (thus negating the “I get to keep almost everything” advantage) from non-US authors, although some may be reimbursed after some tax hassle.
B) Since Amazon has a war with Paypal, they will pay by sending paper checks by snail mail to overseas and even over-land-border writers . Imagine living in Eastern French Wago-Wago and having to depend on snail mail Amazon checks reaching you regularly. The mind boggles.
2) People inside the core Amazon markets. Those who can’t be bothered, for one reason or other, with dealing with illustrators and editors.
These guys will do everything they can in the self-promotion department (using whichever aspects of the Internet their state allows use of, if that be the case). Or, in other words, while Amazon’s self-publishing terms remain unfair to the Big Wide World—the aspiring authors of this Big Wide World will use for self-promotion the energy they would have for themselves, had they been given the chance, but in this case, to the automatic advantage of the small publisher as well.
Win-win situation.
satanic author-mills—and thus even regain a distinct border between the small indie epub and the vanity—a border which today is often blurred due to misdirection, caginess, and general inefficiency.
I imagine a scenario, in which the small indie epublishers A) are honest: “this is what we will do, and these are our limitations”; B) are prepared to experiment with pricing at least every quarter; C) are prepared to experiment with genre placing when asked to—as in: providing at least a semblance of the flexibility that helps the self-pub successes become self-pub successes. They can even otherwise remain inefficient, except this tiny hint of efficiency, which may well bring enormous rewards.
(Of course, in the cases of the most fragile egos of the small indie epub Masters and Commanders, the first step is to admit to themselves their true situation, instead of thumping their chests in front of the mirror while yelling at their reflections that this is how all publishers work, and even if they don’t—they will soon, and even if they don’t—they’ll all die out like the dinosaurs that they are, while he—the wily ferret—will inherit the field from the dead giants and evolve opposable thumbs and tame the land.)
1. Do the small, inefficient indie epubs have a theoretical positive function and future? Yes!
2. How does that happen? Through a) being realist about which authors are good for the business and which are bad for the business, b) being honest and efficient while working with said authors.
3. Reach out to these authors. The hobbyist writer, the beginner writer, and the overseas enthusiast—these should form the core of the small indie epub author roster, and it is the last category which will bring the long-awaited rise in sales and successes and awards. Confused and resentful folks with shattered dreams—will not bring about the long-awaited rise in sales and successes and awards.
The answer to the question “how would the smallest epub players profit from being honest about themselves to prospective authors” is “fewer writers, but ones who are not delusional, and will not go into hysterics or retreat into sullen loserdom when confronted with the facts of life”.
Embracing the reality-principle and honesty, the small publisher will not only have the chance to publish the new bestselling fantasy from Pakistan, but also of “discovering” new talent (which may then move to greener pastures with big advances, but the publisher builds a reputation as a “talent-spotter”), and providing the opportunity for bored Cindy McRoberts from smalltown USA/UK to write her twenty paranormal erotic mysteries without market-force pressure, until she suddenly reaches a level of quietly splendid craft that brings in all sorts of awards and praise.
Meaning publishers of the Mundania, Bucks County, Rogue Phoenix, Solstice, World Castle, Eternal, Musa, Damnation, Museitup, Zumaya, Wildchild etc. magnitude and type. Inspired by a new thread containing some of the same old.
This layer of publishers has fallen into a rut, which seems self-perpetuating (often manifested in a a crisis after publication—people complaining that after two years their book has sold four copies and a half), but I argue that this need not be the case.
I.
One understands the instinct which makes these publishers pretend they are bigger and more efficient and successful than they really are—this is an instinct all businesses have, even most individuals—but to what does this lead, when applied specifically to finding new authors and books? It leads to accumulating authors who go in expecting something quite different, and then to teh drama.But is the small epub instinct correct? Will they cease to exist, will the supply of authors run dry, if they begin to be open about their limitations? Not necessarily.
II.
Let us consider three broad categories of people who will choose them even without having wool pulled over their eyes: A) those writing as a hobby (a new cozy detective installment every few months, just to soothe the nerves by the act of writing and the later act of gifting copies); B) beginner writers who want a sneak peek into the process from the inside, by letting an early practice work go through the publication process, under a nom de plume; C) people who, in spite of everything, plan on Making It by working the little inefficient epublisher. Concerning the last category of optimists—two questions arise:
1. Assuming one has tried to snag an agent and failed; the Big Six/Five and Small Score advance payers have also turned the book down, as have their digital-first arms and the efficient and bigger indie epubs—should that book not be banished to the void? Is it not obvious that it is no good?
No.
We would not have this enormous wave of successful self-published authors (some of whom turned down by everyone and their aunt), if this was the case. If all firms and corporations could really tell what a future hit is—we would be living in a different world. In many respects, the business is still hit-and-miss, and many of the misses we see raking in some real money from some real sales.
2. In this case, why would the writer of a universally turned down potential hit try to go for pro writing success not by self-publishing, but rather with the remaining layer of legitimate, yet not very efficient publishing houses?
III.
The answer is in two broad categories: 1) People outside the core Amazon markets. A world does indeed exist out there, with a population of more than 6 billion, and to these potential authors, Amazon is geared very badly.
A) They rip a tax chunk (30%) out of profits (thus negating the “I get to keep almost everything” advantage) from non-US authors, although some may be reimbursed after some tax hassle.
B) Since Amazon has a war with Paypal, they will pay by sending paper checks by snail mail to overseas and even over-land-border writers . Imagine living in Eastern French Wago-Wago and having to depend on snail mail Amazon checks reaching you regularly. The mind boggles.
2) People inside the core Amazon markets. Those who can’t be bothered, for one reason or other, with dealing with illustrators and editors.
IV.
I submit the thesis, that if the smaller epubs were (at least in the “write for us” sections) honest about what they do and how, soon the division would be the following: first world hobbyists scratching their itches, aspiring writers publishing practice works under pen-names (these two categories would be the “mid-list” that sells three copies a year), and the hungry third and second world enthusiasts, who see the publishers as a very real way to succeed. These guys will do everything they can in the self-promotion department (using whichever aspects of the Internet their state allows use of, if that be the case). Or, in other words, while Amazon’s self-publishing terms remain unfair to the Big Wide World—the aspiring authors of this Big Wide World will use for self-promotion the energy they would have for themselves, had they been given the chance, but in this case, to the automatic advantage of the small publisher as well.
Win-win situation.
V.
This win-win situation can come about if the publishers realize that the three categories of authors that will rationally choose to publish with them, are better for their business that the subtly misled masses currently herded into the I imagine a scenario, in which the small indie epublishers A) are honest: “this is what we will do, and these are our limitations”; B) are prepared to experiment with pricing at least every quarter; C) are prepared to experiment with genre placing when asked to—as in: providing at least a semblance of the flexibility that helps the self-pub successes become self-pub successes. They can even otherwise remain inefficient, except this tiny hint of efficiency, which may well bring enormous rewards.
(Of course, in the cases of the most fragile egos of the small indie epub Masters and Commanders, the first step is to admit to themselves their true situation, instead of thumping their chests in front of the mirror while yelling at their reflections that this is how all publishers work, and even if they don’t—they will soon, and even if they don’t—they’ll all die out like the dinosaurs that they are, while he—the wily ferret—will inherit the field from the dead giants and evolve opposable thumbs and tame the land.)
Conclusion
To reiterate:
1. Do the small, inefficient indie epubs have a theoretical positive function and future? Yes!
2. How does that happen? Through a) being realist about which authors are good for the business and which are bad for the business, b) being honest and efficient while working with said authors.
3. Reach out to these authors. The hobbyist writer, the beginner writer, and the overseas enthusiast—these should form the core of the small indie epub author roster, and it is the last category which will bring the long-awaited rise in sales and successes and awards. Confused and resentful folks with shattered dreams—will not bring about the long-awaited rise in sales and successes and awards.
The answer to the question “how would the smallest epub players profit from being honest about themselves to prospective authors” is “fewer writers, but ones who are not delusional, and will not go into hysterics or retreat into sullen loserdom when confronted with the facts of life”.
Embracing the reality-principle and honesty, the small publisher will not only have the chance to publish the new bestselling fantasy from Pakistan, but also of “discovering” new talent (which may then move to greener pastures with big advances, but the publisher builds a reputation as a “talent-spotter”), and providing the opportunity for bored Cindy McRoberts from smalltown USA/UK to write her twenty paranormal erotic mysteries without market-force pressure, until she suddenly reaches a level of quietly splendid craft that brings in all sorts of awards and praise.
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