On the website Writer Unboxed, an article proposes that the movement to self-publish will break down barriers enough to entice writers with traditional deals. It already has; a best-seller like Steven Pressfield (Legend of Bagger Vance, the War of Art) has founded Black Irish Press for his latest book. The net result? Books get into the markets and onto readers’ devices, books that the traditional houses won’t invest in with a traditional deal.
But these self-published books still need support from editors and marketers to wear down the prejudice against this route.
They succeed for one main reason–the ability to price, package and reach your own audience without gatekeepers who need to publish blockbusters. It’s a tremendous amount of creative freedom that has already created some new sub-genres because there was no editor or marketing panel to say, “We don’t think stories about post-high school will sell.”
There is also the money. The average return for a writer on a trade paperback book is about a dollar. On hardcover, maybe you get a bit higher. On mass market, it’s a bit lower. Still. You have to sell a heap of books to make a decent living, and the truth is, shelf space has shrunk insanely over the past five years. In digital publishing, the return on even a $2.99 book is around 2 dollars. At higher price points, it goes higher. Do the math.
And oh, it comes in monthly. Monthly! For a great many established authors, this is mind-boggling.
It’s true there is less respect for self-publishing, for all the reasons that have always existed. But I predict that the support systems of editorial and design will continue to improve and writers will be able to hire the teams they require. Many of us are already doing it.
This dispatch came from the latest Romance Writers of America conference. Just this morning I was talking about Jodi Thomas, a writer of bestselling romances who taught me at the Writer’s League of Texas Writing Academy. Jodi stays busy with a couple of books per year. But she was glad to admit she needed help from editors.
At one point in her career, she was frustrated with the revision letters she was getting from her editor about punctuation. She joked, “I just typed up a page of commas and sent them to her and said, ‘You put them where they belong.’ ”
Jodi’s a best-seller because she’s an ace with characters, draws vivid settings (her latest is the Harmony series, set in the made-up Harmony, Texas) and knows story structure cold. We all need another set of eyes for something in our work. Outside editors are essential. If you don’t get a deal from a small press, you can still get an editor. Your compensation comes in $2 increments off that ebook. Every month — not by the quarter like a traditional deal.
Most editors let us pay by the month for services, too. Look into it if you’re getting a book up on its feet and need coaching or editing.