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Posts tagged ‘indie’

The Price of Freedom

It’s happened before, of course. Three-quarters of the way into a book, it suddenly appears to me as a huge, lifeless pile of words. The ending is not credible. The characters won’t talk to me. I should probably give up even trying to write.

The difference is, in earlier times there were constraints that forced me to go on and finish the book anyway. I usually had a contract. A delivery date. An editor who was expecting a book bearing at least a passing resemblance to the synopsis she’d signed off on.

Not to mention a nice chunk of money to be paid on delivery of the completed manuscript, and a mortgage payment that the bank was going to expect to see no matter how I felt about the matter.

Writing indie has meant flying free of all these constraints, and for the most part I’ve loved it. I’ve been writing faster and more happily than I did back when every word had to be filtered through an editor’s belief about what readers would like.

But now?

Two weeks ago I wrote about being derailed and muscling the train back onto the tracks. Then I got sick again, and stopped writing again. And now I’m looking at the manuscript that’s been just lying there limply for nearly five weeks, and I’m seeing a huge lifeless pile of words. I look at my synopsis – my map of how to get to the end – and all I can see is a heap of rocks lying across the road. And the old motivators aren’t there any more. I haven’t promised this book to anyone, nobody’s going to be peeved with me if I throw it away, there’s no guaranteed financial reward for finishing, and thank goodness the mortgage is paid off.

Freedom. If I really believe this project is hopeless, there’s absolutely nothing to stop me from dumping this book and starting a new project? Except – as soon as I think that, the voices of despair switch from “This is a terrible book” to “You don’t have any good ideas.” So evidently they will not be satisfied with anything less than my total defeat. Well, good. At least I know where I am now. I’m not looking at a dispassionate critique of this partial book; I’m looking at the personal demons that want me to stop doing anything at all.

Time to start moving rocks.


Are you really sure?

One of the most frequent comments you’ll hear when you ask someone why they want to sign a traditional publishing contract has to do with the “services” they get from a publisher. Next to distribution to bookstores, probably the most often quoted reason authors want a publisher is so they have an editor. They trust the publisher to make sure their book goes through not only content editing but also copy editing and proofreading. Because of that, they don’t worry as much about turning in a publication ready manuscript as they would if they were going the indie route.

It doesn’t matter if they are talking about a small press, mid-sized press or one of the Big 5. Too many authors believe the hype publishers try to sell – that they will get the kind of attention you see the Castles or other fictional authors receiving. Unfortunately, just as they won’t get the sort of promotion and push they see in fictional settings, they also aren’t guaranteed the level of editing they believe they’re going to get. Read more

Topic Round-up

Wow, the New Year has gotten off with a bang — or, perhaps more accurately, the sound of air slowly leaking out of a balloon. Traditional publishing basically shuts down during the holidays. So there isn’t much coming out of the ivory towers to discuss. But that doesn’t mean there’s nothing going on. Just the opposite, in fact.

The first to come up over the holidays and, in many ways, the most concerning was the announced closure of All Romance eBooks and its related sites. I’m sure most of you have heard about it by now. So I’m not going to spend much time on it. The basics are ARe, one of the distribution platforms for romance and erotica ebooks, announced it could not continue operating after posting losses during the year. So, giving its authors, small presses and readers less than a week’s notice, it said it would be shutting down the site. Oh, and those folks to whom it owed royalties? Well, if they agreed to something ridiculous like 10 cents to the dollar and promised not to sue, they’d get paid. Otherwise, good luck trying to get anything out of them.

For more information about this situation, I recommend several posts. Start with this post from The Passive Voice. Be sure to read the comments and then click through to the original post from BlogCritics. On New Year’s Day, PG posted two more times about the ARe situation. The first, also from Blog Critics, discusses some court documents that are very revealing about what had been going on behind the scenes at ARe. These documents show just how little authors and publishers know about the distribution platforms some of us rely upon to get our books into the hands of our readers. The second is a link to a post from Kris Rusch. I cannot say how important it is to read both the PG comments but to click through to Kris’ original post. Please, even if you don’t read the first two, read this last one.

The ARe situation is bad for everyone involved. Authors are being stolen from. There is no other word for it. The owners of ARe did not give their clients — authors and readers alike — warning there was a problem. That meant authors, who relied upon ARe to do as they contracted, could not make an informed decision about whether to continue the relationship or not. For readers, it pointed out the danger of trusting online distribution sites to remain up and running and to continue giving you access to the books you bought. This is why so many of us have long preached that you need to download and save to multiple back-up sources/media any e-book you buy. It is another reason why so many of us hate DRM that tries to prevent you from doing just that. So, the lesson for the moment is to download, back up and make your own decision about whether you will try to break DRM or not. I won’t say whether you should or should not because it is against the law in some countries and it does violate the terms of service for a number of sites.

And I would never, ever tell you to do anything to violate the TOS or the law. [required disclaimer]

The next topic I had considered for today came up New Year’s Eve. I’ll admit, when I saw the site where the piece was published, I knew it probably cried for some serious snarkage. After all, HuffPo isn’t known for being a staunch supporter of indie and small presses. I was right. After all, when the headline of the piece is Self Publishing: An Insult to the Written Word, you know exactly how the article is going to slant.

Fortunately for all of us, the king of snark, Larry Corriea, tackled the task before I could. Since there is no way I could out-snark Larry, I wills imply direct you to his post. Read it, enjoy it and know that he is completely on the mark with everything he has to say.

Next up, we have yet another call to have a year of publishing nothing but women. Yep, you read that right. Kamila Shamshie has called for 2018 to be the year of publishing only women. Now, I know what you’re going to say. Look at the source of the article. It’s the Guardian. I know. I know. Another bastion of, well, drivel. However, this isn’t the first time I’ve seen such calls, or something similar. Have you forgotten the calls for readers to give up on reading books by men — or non-people of color or other so-called marginalized groups — for a year?

One of the best responses I’ve seen to the Shamshie article comes from Dacry Conroy. These three paragraphs completely dismantle Shamshie’s argument:

Yes! I thought. We do need to take example from the suffragettes, we do need to stop being so polite and seize our own power, raise our voices and… That’s when she lost me. Because what Shamsie suggested we raise our voices to say to the publishing industry was, essentially, “Please let us in. You’re being unfair. Just for one year without any boys in the way and see if the readers like us. It doesn’t have to be right away, 2018 is fine, but give us a go? Please?”

I don’t see the spirit of the independent presses of the 70s and 80s in that. What I see is a spirit of dependence on an industry that infantilizes writers, making them grateful for any morsel of approval and attention, convincing them that a publishing house is the only way to ‘real’ publication. This seems to be particularly so of literary writers (a group to which I do not pretend to belong) who appear to have been convinced that even though they are the keepers of the “artistic flame,” they would not have an audience at all without the festivals, the reviewers and the awards the publishing houses so carefully close to all but their own.

Surely the lesson from the independent presses of the 70s isn’t to plead for someone else to start a press and offer better opportunities, it’s to stand up, use the technology available and become our own publishers. Many of us are already doing that.

Be sure to check out the rest of Conroy’s response at the link above.

Finally, someone stirred the waters and more and more posts have been appearing on social media about the evils of self-publishing. We need gatekeepers. We need editors. We need to serve our time as journeymen learning our craft the old way. Traditional publishing is the only way to do that. We’re flooding the market and writing books that shouldn’t be written.

You get the drift.

I’ve been hearing this sort of thing since I first stuck a toe into the indie waters more than six years ago. I’ll freely admit there is some dreck out there. Hell, there’s a lot of dreck out there. But it isn’t all coming from indie authors. Remember, there is the traditionally published science fiction (erotica) where the male lead’s genitals are so dangerous they have to be chained. (Kate, quit laughing so hard. You’ll hurt something.) Then there is the traditionally published paranormal romance where the vampire groom marries his human bride in a church, drinks faux blood champagne and then, like a scene out of the first Christopher Reeve Superman movie, flies off into the sunset with her in his arms. Sorry, vampires don’t sparkle, they don’t do sunlight unless they are really, really old and usually evil or insane. They certainly don’t go flying off into the sunset ala Superman and Lois Lane.

Every argument against indie books can be answered easily. We need gatekeepers. Guess what? The gatekeepers are the readers. They tell us if we are doing something right or wrong. They tell us if they want to buy what we’ve written or not.

We need editors. There are a ton of editors out there we can hire or barter services with.

We need professional looking covers. Easy peasy. We can hire or barter for services. And, btw, have you seen some of the traditional covers recently, especially for romance books? Can you say “stock photos”?

We need someone to format and convert our books. Pardon me while I laugh hysterically. Formatting is simply setting up a template and writing in it. Conversion is nothing when you look at what we used to have to do. I remember having to hand code a novel into html. Now? You can upload your Word file or a mobi or epub file. No problem. And print? That’s a bit more tricky but I can prep a print file in a matter of an hour or two now — the trouble is finding the time to sit down and do it because I would rather be writing.

And that, you see, is the real issue indie authors face. We would rather be writing. So some of us — myself included — tend to slack off when it comes to getting print and audio books out there. It is a matter of disciplining ourselves to do it — and that is my one resolution for the New Year. The other real impediment we have as indies is getting our books into bookstores. However, is that something we really need to worry about? Despite what the “studies” show, how many young people (age 30 and under) really go to a bookstore and buy a print book for themselves? How many bookstores do we have? In my town, none. The closest bookstore is about 8 miles away and is located in a very busy shopping area with lousy parking and even worse access. In fact, if you don’t know it’s there, you would never get off the highway or the main city street to pull into the shopping area to find it — and it is a Barnes & Noble.

As for the complaint that we are saturating the market, possibly. However, indie publishing has proven traditional publishing was not meeting reader demand — either in the number of new books being offered each month or in subject matter. How long have we listened to the old saw that science fiction is dead? Yet more and more indie sf writers are starting to make enough from their writing to consider quitting their day jobs.

What do you think? Are indies an anathema to good writing and reading?

Cranky Writer is, well, cranky

When I went to bed last night, I knew exactly (kind of, sort of) what I was going to write about this morning. It was a toss-up between a post on some comments about the cover of Black Tide Rising, an anthology based on John Ringo’s  series of books, and a response to an article The Passive Voice linked to about how real writers don’t go indie. As you can imagine, I had plenty to say about both topics. That doesn’t even begin to go into my thoughts about the condemnation and disrespect that has been flung Kate’s way because — gasp — she respects the wishes of readers more than the gentile feelings of some authors who are apparently worried that they have been recommended for a Hugo because — gasp again — the wrong sort of fans might have made the recommendation. But all of that seems minor in light of what has happened in Brussels this morning. That does not, however, mean it shouldn’t be said.

So, here goes.

Starting with the attacks on Kate and the desire to be removed from the recommended list Get over yourselves. Kate has run SP4 exactly the way she said she would. It has been in the open. The recommendations have been made on the SP4 blog. Kate herself spent more than a month here on MGC discussing each of the major — and some not so major — categories people could nominate works in. Those posts were not closed to comments. They were not hidden from view. They were, in fact, promoted on Facebook and elsewhere. No one was asked if they were Puppies, sad or otherwise. No one was told that only a certain kind of book could be recommended.

Did some people campaign to be included on the list? Sure. Not that it is anything new. Authors have, for years, reminded people what work they had that was eligible for the award. Funny how no one objected until folks outside of the “in club” started doing it. I guess it is a prime example of that old adage of “Do as I say, not as I do.”

As for those who don’t want to be associated with SP4, I suggest you go back and look at what Kate has done throughout the year. The list is not something she pulled out of thin air. This is a list that is based solely on recommendations made by anyone who wanted to take part. By telling Kate you don’t want to be associated with the list, you are basically telling your readers — your fans and the people who buy your work — that you don’t value their support. You are letting fear of what a few in the industry might think of you override what should be important: keeping your fans happy. Unless, of course, you don’t give a flip what your fans think and you like slapping them in the face for daring to support your work and recommend it for what has been one of the most prestigious prizes in the industry.

Which leads me into the article I saw listed on The Passive Voice. This oh-so-elite author doesn’t care if she starves. She will never, ever sully her writing by going indie. Serious authors shouldn’t even consider joining the unwashed masses, at least as far as she is concerned. She raises some of the same tired excuses we have seen for years. No gatekeepers to keep the dreck out. No editing. No good covers. Indie authors can be obnoxious with their constant promotion. You need to suffer for your art — oh, wait. That’s my take on what she has to say because she is the one who put a dollar figure on everything.

Look, I don’t care what course you take, be it indie or traditional. Both have strengths and weaknesses, although the line is thinning between the two. The reality is, if you go indie and you are serious about it, you will treat it as a business. That means you will get professional looking covers for your work. You will have it edited. You will develop a platform that will help get word out about your work. The hardest thing you will do is get your books into physical bookstores. That, too, is the one thing that traditional publishing makes easier. But, as I said, that is becoming less of an issue.

The second reality is that traditional publishing doesn’t always give you everything the article’s author seems to believe they do. The vast majority of traditionally published authors don’t get the type of promotion they expect. They, too, have to create their platform or “brand” to promote their work. Editing isn’t what it used to be for a number of houses. Yes, it can vary from editor to editor but it isn’t of the quality, on the whole, of what it once was. Ask Sarah about some of the copy edits she had from a non-Baen house where the copy editor apparently didn’t understand what a sword arm was and how it was suggested she “correct” the problem.

Read the article and let me know what you think.

Finally, the cover for Black Tide Rising. I hadn’t paid that much attention to it when the cover was first released. Then I started seeing the cries of outrage, first on Facebook when some of the usual crowd started crying over the fact that their hero, John Scalzi, would deign to allow his name to be associated with such a horribly sexist cover. The complaints continued across social media. Evil Baen! Bad John Ringo and Gary Poole! Evil, mean men using sexist covers. How dare they!

The problem is, the ones screaming and pointing fingers made one big mistake. They condemned the cover based on their own prejudices. They didn’t wait to see if it had anything to do with the anthology. All they saw were cheerleaders with guns and they made that weird, non-logical leap they have gotten so good at. Even when their mistake was pointed out, most of them continued to point fingers and scream “Misogyny!”

So here’s the deal. Black Tide Rising is, with one glaring exception, a great read — and this comes from someone who is not a fan of zombie books. (Ringo’s series is different from the other zombie books I’ve tried to read and a series I have very much enjoyed.) If I remember correctly, there are 12 stories in the anthology. One of them, Not in Vain, was written by Kacey Ezell and is the inspiration for the cover illustration. For those not familiar with Ezell, here is an excerpt from her bio: Kacey Ezell is an active duty USAF helicopter pilot. When not beating the air into submission, she writes military SF, SF, fantasy, and horror fiction.

Her story centers around a group of cheerleaders, their coach and what they have to do when the ZA happens. They are on their way home from a competition — hence the uniforms. They are, as most serious cheerleaders these days, true athletes and anything but the empty headed bimbos cheerleaders have been stereotyped as. Sure, they get scared because of what is happening but they adapt and cope. It is that or die. And yet, to those complaining about the cover, none of that matters. Cheerleaders, you know. Short skirts and bare midriffs and guns. Must be nothing but a bunch of old white men deciding on a cover that “excites” them.

Grow up and quit making yourself look bad by condemning something before you do your homework.

I guess what I’ve done is spend a little over 1,200 words proving that I’m cranky. I’m tired of people condemning things about my profession and about my friends without doing at least a minimum of research first. I’m tired of being called names and condemned because I don’t fall into lockstep with those who are trying to hold onto a professional business model that is outdated and that threatens the industry because the suits are too scared or too tied to their ways to adapt to changing times and demands. I’m tired of authors forgetting that they need to please their readers first and foremost or their books won’t sell. I’m tired of being told I’m doing it all wrong because I haven’t served my “apprenticeship” and bowed down to the gatekeepers.

Guess what, times change. The apprenticeship can be served in different ways now. Yes, it can be served by trying to break through the walls of the gatekeepers. Or it can be served by ignoring the gatekeepers and going straight to the customer. Please the customer and you make money. Don’t please them and you either have to learn your craft better or move on to something else. It is that simple.

So is the adage that the customer is always right — something certain authors have forgotten or have decided they don’t care about.

And, since I am one of the unwashed indie authors the blogger for the Guardian complained about, here is my bit of self-promotion:

Honor from Ashes (Honor and Duty Book 3) will go live in less than a month. It is available for pre-order now.

War isn’t civilized and never will be, not when there are those willing to do whatever is necessary to win. That is a lesson Col. Ashlyn Shaw learned the hard way. Now she and those under her command fight an enemy determined to destroy their home world. Worse, an enemy lurks in the shadows, manipulating friend and foe alike.

Can Ashlyn hold true to herself and the values of her beloved Corps in the face of betrayal and loss? Will honor rise from the ashes of false promises and broken faith? Ashlyn and the Devil Dogs are determined to see that it does, no matter what the cost.

Honor from Ashes (Honor and Duty Book 3) is part of the Honor and Duty (2 Book Series) series. Click either the link or the image to the left for more information on the series.

Thanks and now back to work for this writer who, for the record, does better as an indie than the blogger does as a traditional author. But then, I look at this as my business, as my profession and treat it as such.

Are you the gatekeeper?

Recently, I’ve seen a spate of articles and comments on various social media sites extolling the necessity of being traditionally published before you venture into the world of indie publishing. After all, these posts contend, how can you tell if you really are good enough if you don’t first make it through the gatekeepers of a few publishing houses that have been controlling the way things have been done for decades? If you can’t find yourself an agent and can’t get yourself a traditional publishing contract then you simply need to accept the fact that you aren’t good enough to be a writer and you shouldn’t be filling up the digital shelves with what can only be classified as dreck. Oh, these same folks will admit there might be an exception or two to this but they are so few and far between as to be non-existent.

Well, to those folks I say bollocks. For one, that sort of stance forgets the fact that traditional publishers have only so many slots a year they leave open for new authors. It is an arbitrary number, determined by the economics of how many new titles they plan to put out, how many of those will be filled by their best sellers, how many will be filled by their mid-list writers and how many will go to the lucky few to get past the gatekeepers. Even editors, when they are willing to be honest, will tell you there aren’t enough slots for all the good books they see come across their desks. But still, those who are terrified of indie publishing and its impact on the business say you should go the traditional route AND get a contract before going indie.

Of course, there is another reality they so conveniently forget, or at least overlook. Many traditional publishing contracts now include a clause that gives the publisher the right of first refusal. That means an author can’t go indie without first giving their publisher the chance to publish that work. Often those clauses have no time limit on how long a publisher can sit on a “submission” so that bit you want to take indie can wither and die on your publisher’s desk. Worse case scenario — and this has happened — the publisher will cancel your contract and demand your advance back and all because you dared self-publish something that had nothing to do with the project you were contracted for with them.

But there is something else those who say we should go the traditional route and make it past those gatekeepers before branching out on our own forget — those self same gatekeepers have their own tastes and they have been told by the powers that be in the accounting offices what sells and what doesn’t. They are looking for particular types of books based on buying trends. Nothing wrong with that, at least not on the surface. But traditional publishing, unlike indie publishing, is a slow process and what the trend might be today, when the editor accepts a book, probably won’t be the same as the trend in a year or more when that traditionally published book finally makes it to the shelves. An indie author, however, isn’t constrained by such things as going through the corporate ladder or being tied to a publication slot a year or more out because the publisher can only put out so many titles each month.

The landscape of publishing is changing. I think we can all agree upon that. With that change has come a change in the gatekeepers. Once upon a time, those gatekeepers were the publishers. Then, with the need to cut costs on the corporate level, publishers gave agents the role of gatekeeper. Don’t believe me? Ask yourself this then. If the publisher is the gatekeeper why require an author to submit through an agent? That agent decides what is “good enough” and that means decides if they like the work and that, my friends, is based on personal taste, bias, etc. They become the first gatekeepers under the traditional method. They also take a huge bite out of your potential income as a result.

But under the new landscape, who are the gatekeepers? They are, in my opinion, the readers. They are the ones who decide what to spend their money on. They decide what sort of stories they want to read. They are the ones who leave the reviews on Amazon or other online stores where they bought the book. They are our audience, our customers and the ultimate judge of whether or not we are good enough.

But that doesn’t mean we can relax and throw anything we want up on Amazon or iTunes or B&N as an ebook and forget about it. We owe it to our readers, to those who are paying good money for our work, to give them our very best. That means we accept as indies that we have many more hats to wear than the traditionally published author. We are not only the creator of the work but also the bean counter and front office and so much more. It is our job, our duty if you will, to make sure we have a professional looking cover. We need to make sure our work is well edited and formatted in a way that reminds our readers of a “real” book. If that means hiring an editor and someone to format and convert our books for digital and print formats, we need to do that. The alternative is learning how to do it ourselves. We are those one man shops of old where we do it all.

In other words, we are publishing’s jack-of-all-trades. Or we should.

We owe it not only to our readers but to other indie authors to look at our work with a critical eye and not hit the publish button too soon. Cedar wrote a post yesterday that should be a cautionary tale for all of us. It’s fine to be proud of your work. It’s great to want to publish it. But make sure you have someone look at it first who will tell you the truth, no matter how brutal it might be, not only about your writing but your cover and your marketing plans. Every time someone publishes something that is less than the same quality of a traditionally publishing book, there will be a chorus of nay-sayers lining up to point fingers and declare that all indie published books are horrible, awful pieces of dreck.

So, who are the gatekeepers?

The reality is that we, the authors, are the first gatekeepers. We decide if what we have written should be let loose in the wilds of the book buying public. Then we open our gate to our editors and they decide if we are right and the book should be released or if it needs some more work. It is up to us to decide if that editor is correct but this, I remind you, is the time when we put ego and dreams on the back burner and look at our work and the suggested edits with a clear eye and do what needs to be done. The editor isn’t always right but they also aren’t as close to the story as the writer is and can see the holes we know were filled, at least in our minds.

All that said, the final gatekeeper is the reader. That is something traditional publishing, on the whole, has forgotten. There are a few exceptions, Baen being one of them, to that. Those publishers listen to their readers and know that to remain viable they have to keep the core fans happy while, at the same time, expanding their readership. Unfortunately, most publishers, especially the Big Five, see their role as dictating what books should be out there and what reading trends should be continued long after they have run their course. How else do you explain the fact there are so many indie authors writing science fiction, fantasy and certain sub-genres of romance who are making livings from writing in genres all but abandoned by traditional publishing over the years?

So remember this. The ultimate gatekeeper is your reader. They are the ones paying money for your work. They are the ones who will recommend your work to their friends and family. They are also the ones who will drop you like a hot potato if you fail to hold the trust they have put in you. You owe it to them to put out the best project possible and that means thinking twice before hitting that publish button. Have you done all you can to make sure your book is the best it can be? Is your cover appropriate not only to the story but to the genre? Have you used the best tags to make your books findable in a search? Does your blurb entice or intrigue your reader or turn them off so they won’t even look at the preview? Unless you can answer yes to these questions, you are not ready to approach, much less pass, the ultimate gatekeeper — the reader.

Where’s the Money, Pt. 2

Yesterday over at According to Hoyt, Sarah kindly posted a guest blog by yours truly asking “Where’s the Money?”. The post came out of reading Jim Hines’ annual reporting of what he made as an author and the results of he 2014 Digital Book World and Writer’s Digest Survey. I won’t rehash that blog other than to say I had some serious issues with the survey — or at least with the results of it tat have been reported. I won’t pay the almost $300 required to get full access to the survey questions and responses. However, doing some more research into the survey has led me to suspect that some of my suspicions about the reasons behind the survey were correct.

According to an article over at the DBW (Digital Book World) site, the survey “asked authors whether particular outcomes were more likely with self-publishing or traditional publishing.” Authors were asked about distribution, cover and interior design, marketing, etc. Note, too, that the author of this article links to “What Advantages do Traditional Publishers Offer Authors”,  which for a mere $295 will let you see the survey results and, presumably, other information.

Take a few moments to look over the DBW article and then tell me that there isn’t a bias, at least in the way the information is presented, toward traditional publishing. It also becomes more clear in this article that the “aspiring authors” who took part in the survey, and accounted for approximately 65% of the respondents, were just that – “aspiring” authors. People who have never sold anything. I came to that conclusion when reading the last paragraph of the article. The problem with this is that when you are surveying authors about things like income and publication numbers, especially when you are trying to point out the differences between traditionally published and self-published authors, why in the world are you skewing the results by including authors who have never published?

If that isn’t proof enough that there was bias built into the survey, the next DBW article is further evidence of it. In “2014 Author Survey: Indie Authors and Others Prefer Traditional Publishing . . . Slightly“, the author of the article comments that most authors would prefer to traditionally publish their work. They didn’t share his enthusiasm for indie publishing. He points out that the majority of those answering the survey “were aspiring authors who had not yet published a manuscript.” Of these aspiring authors, approximately only a third had a finished manuscript. The rest of the respondents break down thusly: The numbers of self-published (n=1,636), traditionally published (n=774), and hybrid (n=598) authors are relatively small by comparison (and the remaining authors could not be classified due to missing information).

Oookay, now my suspicions about the survey have been confirmed. The “aspiring authors” are just that, folks who have not yet published anything. So, my question continues. Why were their responses given any weight in the survey about our industry, especially when it comes to income and units sold? Also, why was data from those unclassified authors considered?

But to continue. . .

My next suspicion is also confirmed. The survey was, indeed, non-scientific. It was done by folks volunteering to answer the survey questions instead of the survey developers going out and taking a random sampling of the writer pool. Most of those who responded did so after receiving notice from Writer’s Digest about the survey. You know Writer’s Digest. That’s the company and magazine that has so much of its survival tied to the continuing survival of traditional publishing. Hmmmm. . .

The greatest preference for traditionally publishing was reported by traditionally published authors (87.2%) followed by not-yet-published authors (76.8%). Among authors who have self-published, more than half hoped to publish with traditional publishers—53.5% of self-published authors and 57.8% of hybrid authors.

Considering how the survey was conducted, this doesn’t surprise me. Heck, I would like to traditionally publish — but only with one publisher and that publisher isn’t actually all that “traditional” when you look at the greater scheme of things. I’d love t sign a contract with Baen. It is the one publisher where I know I wouldn’t have to skew my politics and beliefs in a book I wrote so that it followed whatever the politically correct/socially desirable cause du jour might be. Baen, under the leadership of Jim Baen, expanded into e-books long before there was a Kindle or a Nook. He saw that technology and customer demands were changing and he led the field — with the field kicking and screaming and condemning him — into the digital age. He refused to put DRM on his e-books, something that has continued under the leadership of Toni Weisskopff. So, yes, I’d sign a contract with Baen any day of the week. I can’t say that about any other traditional publisher.

To add another layer to the misinformation that has been coming from this survey, take a look at what Publishers Weekly has to say about it. “Just over 9,200 authors responded to the survey. . . .” Now, PW does go on to note that these “authors” fall into four categories: aspiring, self-published, traditionally published and hybrid-published. Still, the skewing is done. It goes on to reinforce the “findings” that most authors would prefer the traditional route because they feel they will get more marketing, distribution and editorial support. (Sarah, quit laughing. They did survey mostly unpublished authors who don’t know better.)

Look, the truth of the matter is simple. Those behind the survey may have had the best of intentions but the survey is flawed. Yes, some authors may have wonderful editors who work closely with them. They may actually get good marketing and distribution from their publishers. But they are the exception and not the rule. You can find story after story about authors who have had books published that their so-called editor never even looked at. It was relegated to an intern or someone similar to make sure there weren’t too many misspelled words and then sent to the printer. You’ll find other writers, some of them bona fide best sellers, who hire private editors to go over their work because they know the editors at their publishing house either won’t or can’t do a decent editing job on it.

As for marketing, that usually consists of making sure your book is listed in the publication catalog sent to bookstores. Rare is the project where actual publisher dollars are spent on commercials or internet ads or, gasp, book tours. Now, your publisher will be more than glad for you to spend your own money to do so — in fact, a lot of them will encourage you to spend your money to promote your work. I could go on and on but I think you get the picture.

To close, the survey concludes that vast number of non-traditionally published authors made less than $500. That might be true but we can’t take that at face value because of the problems with the survey. What I can tell you is that I made substantially more than that this past year. I know a number of other self-published or micro-press published authors who did as well. I also know that I have seen as many poorly formatted e-books from traditional publishers as I have from indies. Are there advantages to being traditionally published? Sure. But the question becomes do those advantages outweigh the disadvantages? That’s something each of us has to weigh.

And for the love of Pete, if you get a contract offer from a legacy publisher, have an IP attorney look it over before signing it.

For me, I will continue along the path I’ve been on these last few years. If, by any chance, I do get an offer from Baen, I’ll be thrilled. But I won’t hold my breath until I do. Instead, I will continue writing, both under my own name and under the pen name of Ellie Ferguson, and smiling as I collect my royalty payments. And I most definitely will not let the results of some survey convince me that I’m doing it wrong — at least not if they want me to pay almost $300 just to see the survey and the results and when it is clear from the data that has been reported that the survey has some very serious problems with the survey sample and with possible bias.