Self-Publishing: Black Mark or Gold Star?

Hello, LDSPublisher!

Hope your holiday was great! [It was, thank you.] I have another question for you.

I’ve heard conflicting opinions of self-publishing. When I first began seriously considering publishing a novel, I was advised that self publishing was tatamount to professional suicide. And yet, I’ve also heard of several authors who have made a real go of the do-it-yourself route.

What do you think? As a publisher, is a self-published work on a resume a black mark? Or a gold star? Or something in between? Would you be more apt to publish someone who had a self published book, supposing it sold moderately well, or would you be more inclined to avoid them? What about publishers outside the LDS market – is there a difference of opinion there?

I guess the real gist of the question is: Is this a road that I might look into, or would I be better off staying on the main publishing highway, so to speak?

Thanks!

Here’s the thing with self-publishing. If you know what you’re doing, or you have good advisors, you can be successful at it. If not, it can be a financial disaster. The majority of self-publishers fall into the disaster category. That is why self-publishing has such a bad reputation.

There is also the bias that if it was any good, a “real” publisher would have picked it up. That’s not necessarily the case, but people still believe it.

Self-publishing does not have to be professional suicide or a black mark on your career, but it’s not an automatic gold star either. It depends on the quality of the finished product, how many and how fast you sold them, and the method you used to sell them (ex: bookstores, personal appearances, online marketing, etc.).

For self-publishing to count with me, it would need to be professionally created so that I could not tell by looking that it was s.p. — and I am picky. I’d expect to be able to find something about the book by googling the title. I would need verified sales of over 2,000 in the first year. Outside the LDS market, sales would need to be higher.

This is definitely a road you might want to look into, but you need to be very, very careful. The first step is to find a distributor. Do this before you print anything. If they like your manuscript/idea, they should be willing to help you find professional editors, typesetters, printers, etc. Not all distributors will help you like this, but many of the smaller ones will.

I also recommend a couple of books by Tom and Marilyn Ross, The Complete Guide to Self-Publishing and Jump Start Your Book Sales. Those two are my favorites. Dan Poynter also has some books on self-publishing, but he’s sometimes a little unrealistic about how easy it is to do it yourself and how much money you can make from it.

If you’re writing for the masses, avoid POD because that usually prices you out of the market. If you have highly specialized info, you can sometimes get away with the PODs. Also, be prepared to do a LOT of marketing. Another book I like is Guerilla Marketing for Writers by Levinson, Larsen and Frishman. They have some good ideas and they try to keep it within a budget.

I know that these are superficial answers. This is a huge subject that can be debated from lots of different angles. There are pros and cons to both traditional and self-publishing. It all depends on what you goals are and the size of financial risk you’re able to take. If you have more specific questions, I’m happy to answer them.

Small Press Treated Like Ugly Step-Sister

I consider myself a small press, even though most of the books I publish are my own. Several of my titles sell well; in fact, one of them sells really well. My books have been in Deseret Book and Seagull stores, as well as in a lot of independents. I’ve had an LDS distributor for years, but I recently decided to self-distribute. Now Deseret Book won’t even talk to me. They tell me I’m not big enough for them to bother with–even though they were ordering almost weekly from my distributor. I don’t understand that. I’m starting to feel like the ugly step-sister.

This happens to a lot of smaller presses and self-publishers. As with so many other issues, a lot of it boils down to economics and the “economy of scale.” There are certain overhead costs that are the same regardless of how many books are ordered–for example, the man-hours it takes to fax an order. Let’s say you’re ordering 100 titles. If a bookstore had to order all 100 titles straight from the author or publisher, that means 100 purchase orders, 100 faxes, 100 incoming invoices, 100 checks, etc. If they can order all 100 titles from the same distributor, that means 1 purchase order, 1 fax, 1 bill, 1 check.

Shipping costs are another example. The more you ship at one time, the less you pay per pound. So if a small bookstore orders 2 books from you, the cost to ship is about $1.25 per book. If they throw those 2 books on an order of 100 books, the cost per book to ship can be as low as 10-20¢ per book. Big difference in profit margin.

Many bookstores have a set of conditions that an author/publisher/distributor must meet, otherwise no matter how good the book might be, it isn’t cost effective to deal directly with them. These conditions vary between stores, but a MINIMUM is usually 5-8 titles that “sell well.” What “selling well” means varies from store to store too. Some bookstores will work with smaller companies, but will ask for special terms, such as a 50% discount or free shipping or both.

It’s an uphill climb for the small publisher. I wish I had some better news or suggestions for you, but I don’t. You could try expanding your product line, but that’s going to increase the time you need to spend in your business which will take you away from future writing projects. And even if you have 40-50 books, you’ll still have bookstores calling and asking “Why don’t you go with a real distributor?”

Or you could do some concentrated marketing to boost the sales levels of your current books. If the public is going into the bookstores demanding the product, then the bookstores are usually going to work with you on some level. But advertising can be expensive and the most widespread is through the DB catalog (catch-22). Books ‘n Things covers advertising through the independent stores. (I don’t have contact info handy for them. Go into your local LDS independent bookstore and see if they have a Books ‘n Things catalog you can look at.)

Last option, reconsider your decision to self-distribute.

Writers Groups

I just finished my first manuscript. I have a friend who wants me to join her writers group. She thinks this would be a good way to get some feedback and determine if I’m ready to submit. But I’m not sure if that’s a good idea. I’ve heard horror stories about critique groups. What do you think? Is this a good idea or not?

Groupie-to-Be

Dear Groupie,

The good news: A good writers group can be an invaluable resource. It can be a great incentive to write according to schedule. Sharing information, successes, rejections is a great support to the often lonely world of writing. The bad news: Good groups are hard to find.

A good group often has a mix of beginners and published authors. It may also help if the group is specific to your genre. You don’t want to be in a group that is too nice to give you honest feedback, but you also don’t want a group where flaming and destructive criticism are allowed or encouraged. Good feedback should point out what you did right, as well as places that need work. All feedback should be given with respect. You also want to avoid groups with overbearing personalities that dominate the group. Interaction should be a give and take among equals, not bossy know-it-alls condescending to share their advice and experience with the ignorant. (I’m not a bossy know-it-all. Well, not always.)

Go to the group. Read a few pages. Listen to the comments. Think about the feedback. It only takes one or two visits to determine if the group is a good fit for you or not.

And don’t be offended if a group invites you to attend on a trial basis. There are a lot of new writers who start out with a bang, but then become hit-and-miss non-producers. This is a burden to the group. A screening process allows a healthy group to protect the integrity of the resources they offer. If you are rejected because you’re not a good fit for them, you probably wouldn’t have had a good experience with them anyway.