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Five Days

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Catherine Ryan Howard of Catherine, Caffeinated fame put up a nice series last week titled Five Days to a Self-Published Book. The five days are metaphorical, but if you’re just now looking at the daunting task of creating your own content that’s probably a relief.

The full series can be found here.

Update: The series references CreateSpace, but I’m not recommending it on that basis. Rather, I think it’s an excellent work flow example to follow, and I believe it was intended as such. (On the subject of CreateSpace, Lulu and POD, see also this recent comment from Joel Friendlander.)

Later Update: Mick Rooney has an interesting post up about Lulu. I asked Mick a few follow-up questions in the comments, and I found his answers illuminating. Anyone considering Lulu.com for self-publishing should give his post a read.

— Mark Barrett

Self-Publishing: A Cautionary Tale

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Mick Rooney put a post up on his site today that details a long-running dispute between an author and self-publishing company in the UK. I think it’s worth a read because it draws attention to a number of ways authors can become enmeshed in processes that consume time and money, as well as stomach linings and sanity.

We don’t often end up in court, but most of the things we do each day have the potential to land us there, whether or not we’re the ones motivated to seek some sort of justice. We also tend to think of our online communications as social networking or community building, but our online personas also establish a permanent record and obligate us to conversations we might not otherwise want to have.

Self-publishing is an opportunity, and online methods of marketing our works and ourselves are a benefit in that regard. But there are still risks to be recognized and managed, and our individual conduct may matter more than we think.

As I noted in the comments on Mick’s site, you don’t have to choose sides to see his post as a series of cautionary tales. Given the explosion of author-service providers — including the already re-branded Harlequin Horizons, and other publishers and imprints working with Author Solutions — it only makes sense to be cautious.

The goal, it seems to me, is professionalism. From the people who provide us services, and from ourselves. In this case being a professional means arming yourself with knowledge gleaned from the experience of those who have gone before you. Because it might keep you from losing, time, money and sleep.

— Mark Barrett

Jackie Kessler on Harlequin Horizons

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Here’s everything I know about romance writing:

  1. Fabio.
  2. It’s not my thing.

Which is why I didn’t really know what to make of Harlequin’s recent announcement that they were starting a self-publishing/branded-imprint hybrid called Harlequin Horizons. Fortunately, people like Jackie Kessler know a good bit more than I do about such things, and in a post on her blog today she pulls the wool back quite nicely:

What is the difference between what Harlequin is doing here and what scammer agents do when they reject an author but then steer them to Papa Jack’s Editorial to pay a lot of money to “clean up” their submissions…and Papa Jack is another business owned by that agent? Easy: none.

Read the whole thing, it’s more than worth it. And if you know anyone who has stars in their eyes about this supposed opportunity, make sure they see Jackie’s post.

I also suspect this is only the beginning of such shenanigans. The idea that all of these novice, amateur and un-published professional writers are suddenly going to take advantage of self-publishing tools has got to be making traditional publishers both mental and green with greed. Ergo Harlequin dangles its brand in front of the uninitiated, works a bait-and-switch, and takes a cut. Ugly, but oh-so lucrative.

(By the way, I’d never even heard of the RWA before, but good for them for saying, “No.”)

Update: April L. Hamilton weighed in on this debacle as well, and as always April gets inside the numbers:

For example, as of this writing it costs $35 to register a U.S. copyright online; HH/ASI charges $204 for this same service.

Depressing and predictable at the same time.

Read April’s post. If you’re too busy, read the UPDATE at the bottom, then find time for the rest later. This kind of thing is not going to go away, it’s simply going to become more sophisticated.

(The people at Harlequin are not embarrassed that they’ve been caught red-handed, they’re embarrassed that they didn’t make things so convoluted and obscure that no one could really tell what was going on. Like your cell-phone contract.)

Later update: John Sclazi rips up the remaining shreds.

— Mark Barrett

Start Me Up!

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We all know there’s a cottage industry in making fun of Sarah Palin. Whatever your political bent, her appearance(s) on Saturday Night Live cemented that fact. Now that she’s written (cough) a book that’s due out shortly, people are trying to get more yuks out of the woman.

We also know that the whole self-publishing movement is saddled with a lot of baggage. If it isn’t the vanity-publishing industry ripping off customers, it’s the pervasive idea that self-publishing of any stripe is an admission of failure. Failure to succeed in publishing, failure to write good (sic!), failure to have been born into the right social circles, etc. I’ve even read snarky comments about use of the term independent author, although I can’t figure out how it’s anything but accurate.

Tonight, however, all that changed. Because of this:

Start-up publisher OR Books has announced plans to publish….

Start-up publisher…?

OMG!!! [Cue gender-neutral thrill-squeal.]

If perception is reality, then marketing speak is the plutonium that fuels cultural mushroom clouds. One day you’re a lowly self-publisher fighting industry scorn, the next you’re a start-up publisher driving technology and innovation to capture market share!

(See also micro-publishing for another marketing-friendly co-opting term.)

— Mark Barrett

Site Seeing: April L. Hamilton

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When you’re digging into a subject on the internet, there comes a point at which the site links you’re following become known paths, and those paths start doubling back on each other with increasing frequency. It’s at this stage that you confront two possibilities:

  1. You’ve discovered all there is to discover on the subject.
  2. You’ve discovered a self-contained network on the subject, and there are other undiscovered networks dedicated to the same subject.

It seems counterintuitive that this could happen in an information age defined by search-engine and browser arms races, but it happens to me all the time. I search on a given subject, I follow the links, I seem to run out of fresh links, then I sit there, wondering: is there another system of links out there just like this? Am I missing it? Am I not searching for the correct keyword, variable or wildcard?

Maddeningly, there is no way to verify either possibility without actually searching for something that may not be there, and even then the best you is call off the dogs when the sun goes down and tell everybody back at the camp that you did your best. I mean, in the spy business this is why CIA operatives go funny in the head looking for moles. You can’t prove a negative.

I say this as preamble to frame my experience of stumbling onto April L. Hamilton and her various online incarnations. It’s also a lesson in doing due diligence as a researcher, which means digging into web sites, following links, reading comments, following links in comments, and generally being exhaustive in the way that you would be if you thought a big pile of money was waiting for you to find it.  [ Read more ]

Self-Publishing and Me

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The following post is my entry into the Backword Books Contest, which ends today. And yes, I almost forgot.

As I noted in a previous post, until very recently self-publishing was tainted with the implication of failure. It was tacit admission of inability in a world where ability is deemed equal parts talent, determination, networking, pedigree, bombast, salesmanship, sensationalism and hype.

For writers unable to find traditional publishing outlets — for whatever reason — there have always been self-publishing options, including subsidy and vanity publishers. Whatever you think about those options, the important point here is that technology has always been available to pursue one’s own publishing objectives, provided one had the money to do so.

So if the technology has always been there, what’s changed? Why is self-publishing no longer inherently considered a sign of failure? The internet is the answer, but not for the reason you think.  [ Read more ]

An Up-Close Look at the Sausage Machine

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Imagine for a moment that you can write a story — any length, any genre — and when you are finished you can make it available for the whole world to read. You need a very small amount of money to do this, for computing and technology-related costs. You need some understanding of technology, but nothing prohibitive, and people online will help you learn what you need to learn for nothing other than the satisfaction of doing so.

Hold this idea in your mind and linger on it. You write a story, and the whole world can read it. There is nothing between you and your audience….

Now consider this:

The sheer book-length nature of books combined with the seemingly inexorable reductions in editorial staffs and the number of submissions most editors receive, to say nothing of the welter of non-editorial tasks that most editors have to perform, including holding the hands of intensely self-absorbed and insecure writers, fielding frequently irate calls from agents, attending endless and vapid and ritualistic meetings, having one largely empty ceremonial lunch after another, supplementing publicity efforts, writing or revising flap copy, ditto catalog copy, refereeing jacket-design disputes, and so on — all these conditions taken together make the job of a trade-book acquisitions editor these days fundamentally impossible. The shrift given to actual close and considered editing almost has to be short and is growing shorter, another very old and evergreen publishing story but truer now than ever before.

From the point of view of an author considering doing business with a publishing house, this is the kind of behind-the-scenes look at the book industry that has prevented me, for most of my writing life, from ever really trying to break in. Yes, I’ve made a few attempts, but at some point — and fairly quickly — I’ve realized that the game is so heavily weighted against me that I would be better off buying a lottery ticket.  [ Read more ]

Parallel Publishing

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There is word today that e-book publisher Smashwords is partnering with Sony to make Smashwords-published titles available on Sony’s e-book portal (and, by obvious extension, to Sony’s line of e-book readers). With Smashwords’ earlier announcement of a distribution deal making e-book titles available through Barnes & Nobles’ retail stores, it’s clear that the barriers to entry for independent authors in every market are falling by the wayside.

As a writer who wants to reach as many readers as I possibly can, and do so on their terms by supporting the format and technology that each individual is most comfortable with, it seems to me that I am very close to being able to do just that. I understand that there are a lot of issues to be worked out including compatibility problems, standards issues, proprietary attempts to own markets, etc., etc., etc., but from my point of view as a writer I don’t think I need to worry about these issues except to the extent that I need to understand the current offerings in order to exploit them.  [ Read more ]

Publishing is for Professionals

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As regular readers know, I’m working my way through a very interesting book called The Black Swan, which was recommended to me in the comments. Written by Nassim Nicholas Taleb, it’s a treatise on the commonsensical idea that it’s not life’s little ups and downs that are the real threat, but rather the bottomless pits that no one anticipates that pose the greater risk.

When I say that the author is smart I’m not condoning the author’s colossal ego, or his tendency to cloak bullying in humor and pranks. But he really is smart: and particularly so in that outside-the-box kind of way that you need to be to make any kind of difference these days. Which is obviously why Random House, a major publisher, decided to publish Taleb’s book, and why the New York Times made the book a bestseller.  [ Read more ]

Self-Publishing Linkfest

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I’ve run across a blur of information about self-publishing in the past 24 hours or so, all of it deserving attention.

  • From the New York Times, a nice piece on Pondering the Format of E-books before you self-publish.

    The proliferation of formats has come about, in part, because most companies entering the e-book market have created a proprietary version.

    This rugged individualism started falling out of favor several years ago, and today many companies have adopted the ePub format developed by the International Digital Publishing Forum, an industry consortium. Sony announced in August that it was switching to ePub as well.

    Repeat after me: proprietary is bad. Independent authors do not want a third party to own the means of distribution in any way. If Sony or Amazon wants to sell hardware (e-readers), more power to them. But I’m not interesting in anyone who’s selling hardware that requires me to use (pay for) their software. I understand why people can own fonts, but I’m not down with someone owning the alphabet.

  • Five Good Reasons to Self-Publish Your Book. The subtitle here is: Because No Publisher Will Take You No Matter How Good Your Writing Is.
  • Finally, e-Fiction Book Club chimes in with Why You Should Self-Publish…, including more links on the subject.

    When you self-publish, as I have said before, your book comes with no guarantee of quality or even readability. Readers have to take a punt on your work, and unless you have a great word-of-mouth campaign going on, you’ve got very little chance of being noticed and selling significant copies. Not that I’m disparaging all self-published authors; I’m just pointing out the facts. You are shoulder to shoulder with some of the worst examples of writing ever produced, and you will be lumped accordingly.

    Sad but true.

An interesting side-effect of reading all these posts is that I’m getting a renewed appreciation for the skills of the craftspeople who work inside the staggering publishing industry. Clearly there is a lot of really useful institutional knowledge and business experience there that is applicable to all of the decisions individual authors are now making for themselves, and I have respect for that experience.

— Mark Barrett