In which I’m made to eat my words as I come full circle through the maze of publishing to discover that the grass isn’t necessarily greener over there; it’s still mostly desert scrub from every direction…
It came about through sheer frustration at the lack of visibility and the cost of producing books. A turning point came when a small press offered a contract for Silver Rain. This is it, I thought. This is the change of direction I need… but be careful what you wish for! Don’t get me wrong in that I had huge delusional ideas at this stage. I was simply seeking greater visibility and some respite from the nuts and bolts of self-publishing.
And all the outward signs were good: they took five back-catalogue titles and one new title, to make six contracts.
This material represented several years of my life, several thousand pounds’ worth of investment in terms of editorial advisory, editing, proofreading, designing, formatting for ebooks and paperbacks, advertising… I could go on. Producing a quality product and promoting it to its best advantage doesn’t happen by accident. If you don’t have these skills yourself, then one needs to employ freelance professionals, as I’ve reiterated many times. Of course, we know there are a lot of ‘home-made’ books out there which don’t quite cut it, but this is certainly not the case for all self-produced work. What is slightly disconcerting is that I discovered this isn’t necessarily the case for traditionally produced work, either!
If this is you and you are maybe considering that contract from a small press, think carefully. This is of course my specific experience over 12 months but my advice would be to submit one, stand-alone title before you make a decision to move completely to traditional publishing. I’d been used to working on a one-to-one basis with professional freelancers who knew my material well. But the change of pace and method of working may come as a shock. Your book becomes a commercial product held in a queue, maybe dropped down the enormous cliffside of titles waiting for attention if a more promising book or a more glamorous author comes along in the meantime. This is a hopeless situation when the previously hard-working self-published author has a substantial back-list waiting to be dealt with.
The process of trade publishing has less to do with the quality of material than you might presume, but it has a lot to do with what is or isn’t marketable at any one time. This isn’t bad business, it’s about making money to stay afloat. Small publishers are in exactly the same boat as the independents, but with far more overheads and problems with staff. Some of these staff may be inexperienced or learning ‘on the job.’ These small companies are up against the same fast-moving on-line industry as any independent but perhaps without the resources to manage it effectively, let alone build a lively following on Twitter; a following which has the power to engage. Traditional publishing, by its very nature, is painfully slow and this produces a massive clash with the shifting sands of on-line business. We perhaps don’t realise how fine-tuned independents have become in this respect. We all know marketing is a full-time job. Looking after the detail which includes fine tuning those book descriptions and keywords, sustaining an active presence on social media sites, writing articles and taking advantage of the best days to run a promo deal for that new political saga set in Scotland… it’s not going to happen. Imagine trying to handle the marketing at this level for 500 authors with several titles each… Impossible. And publishers have no magic formulas or special concessions when it comes to on-line sales. A high degree of luck is still perceived as par for the course. So, no specific sales strategy, then…
And while we’re wading through these muddy waters of what defines a self-published book from a traditionally produced book, let me mention yet again two common misconceptions that seem to linger on despite the glaring facts: that traditionally published books are somehow superior, and that those high-ranking, best-selling books on the virtual shelves must be better somehow than those books bumping along the bottom of the Amazon rankings, or boxed up for a rainy day in the back of someone’s office. Wrong!
Over the course of a year, my sales dropped lower than they’d ever been. My branding was confused and I was losing the tiny amount of traction I’d managed to gain in the market. Overall, I was left feeling enormously let-down and misinformed. Despite this, the experience was invaluable as a means to recognise exactly who I was and where I needed to be. Needless to say, I parted company with my publisher and I’m relieved to be back as an independent. My sales have increased, where previously they’d been depressed. This includes both ebooks and paperbacks (in a local shop). The overriding conclusion has to be that whatever I was doing before, was in fact more successful than I’d presumed!
Authors who’ve started their journey with a small publisher may know very little about the huge network of independent authors out there, let alone the complexities of social networking. ‘Oh, I’d rather leave all that to my publisher,’ is a common cry but maybe a mistake to ignore the bigger picture.
Orna Ross: The Alliance of Independent authors:
The independent network of freelance writers remains a growing industry. Many traditionally produced authors are making the move to publish themselves and cross to the dark side – although there are still problems with visibility, the overriding comfort is that there is never a compromise with the work you’ve produced and personal satisfaction cannot be left out of the argument. I’ve heard nightmare stories where authors with agents or publishers have been asked to re-write their books to a different genre or incorporate a different setting, because ‘Cornwall is trending right now.’ Bland covers, hit and miss advertising and the general lack of cohesion is not uncommon. The industry is flawed, floundering, and fluctuating. This is because there are real choices open to writers to maintain their individuality and creativity, and boats have been rocked.
I also think independent authors tend to be tremendously supportive and understand the value of teamwork. I’m not sure this carries over into the trade arena where a lot of authors there are happy to let their publishers assume the responsibility, in whatever capacity. Lots of first-time authors who’ve landed that coveted contract for a first book are struggling with the on-line media. Trade publishing, no matter its size is still something of a closed-shop and this is where the vast majority of authors are unaware of the basics because they’ve come in at a level where the opportunities to learn, are restricted. The days of hiding in a garret and leaving it all to the agent or publisher ceased to exist when the Internet happened. Now, readers, customers, clients or whoever, seek out that social interaction which goes beyond selling the product. There’s only one person who can sell your personality and that is you. There might only be one person who can sell your material on-line, and guess who it is… the good news is that you get to keep all the royalties!
So, before you sign on the dotted line, ask exactly what the publisher can specifically do for you which can’t be accessed in any other way. And above all, be careful what you wish for.
Jan Ruth. Dec 2015.