Aunt Mildred
I've borrowed the name Aunt Mildred for this blog before--with all due respects to anyone named Mildred.
Mark Terry and Zoe Winters both have some interesting blog posts of late on indies versus self-pubbed, on what the publishing model is, and what it means for writers of various levels of sales. I instead am going to talk about Aunt Mildred.
Aunt Mildred is the woman who corners me at the cocktail party. She has always wanted to write a book about her mother, who was a brave woman, raising four children alone during WWII, while her husband was off fighting in France. She canned her own vegetables and took the kids--including Mildred--to church on Sunday. Dad came home from the war, they sent their kids to college, they grew old together, she died. Mildred thinks her mother's story must be told. The fact that there are 25 million other people with this same story, subbing in the particulars of their lives, doesn't matter to Aunt Mildred. Will I write the book and split the royalties? After I am done chuckling softly, I tell her no. But I very kindly say, "Yes, tell your mom's story." I also point out that Mildred doesn't NEED a publisher to write a family history, and she should indeed do it as a legacy for the family. Needless to say, Aunt Mildred is insulted that I don't think Random House will be interested in her mother's story.
Aunt Mildred's daughter, Lulu, sees her opening when Aunt Mildred goes off in search of a martini and to bitch about me to the other people at the cocktail party. Lulu, you see, writes fiction. Sort of. You see, she has a great IDEA for a book, but only has written the first chapter--but she reads a lot. A LOT. So she knows what's good writing. Will I write her romance for her and split the royalties? It's a really good idea! After I politely decline, I tell her to join a writers' group, take a few writing classes, and write every single day, if she can. But Lulu just isn't interested in that. That's what EDITORS are for. She just has that really GREAT idea. Soon she goes off to join Aunt Mildred and complain that there's this snobby writer at the party.
Soon, cousin Bruno approaches me. "Those women!" he says. "Ignore them! I'm a REAL writer." Bruno goes on to tell me he writes every single day, has written three books, but knows the first two probably aren't very good, because he was learning. Now he's ready to be published with this third book, but damn if the New York houses are just shut out to anyone who doesn't KNOW someone. Hint. Hint. I offer to read Bruno's manuscript and if it's good, pass it along to my agent or my editor, whichever he would prefer. I read Bruno's manuscript. He's right. You can see, somewhere in there, some decent writing. But it's also all tell, no show. The backstory is 25 pages before we get to what I KNOW is the opening, for God's sake. There's clumsy dialogue, but yes, there is a decent plot there and a great lead character who could conceivably spin into a second book. I tell him the same thing I told his cousin, Lulu--join a group or work with an editor or take a class . . . polish it a bit and then I will be happy to submit it--yes, this shows promise. But Bruno doesn't believe he has all that back story clogging down his book because really, "Readers need to know all that." He also think Dan Brown is a hack, and if he can get published, well, then DAMN, so can Bruno. Besides, Bruno is a businessman. He's going to cut to the chase. He knows it's "good enough" and rather than chase New York . . . he is going to self-pub. His cousin Lulu teaches elementary school English and is a great speller, so she will edit it. And his own daughter is majoring in art at the local community college, so she will design the cover, and so on. He wants a book signing. As soon as possible. He's going to invite all his friends, and then, through word of mouth, before you know it, he will be a household name.
This is why I tell people I am an actuary. I avoid cocktail parties. I avoid telling ANYONE I am a writer. No one wants to hear about the hard work. They would rather rail against the New York gods than perfect their manuscript. Sometimes, someone will gain some distance after 20 rejections and go "Ah-ha! NOW I see why they rejected me." They will learn from it and the next go 'round will be smoother.
I get that some people have it all figured out and they can cut to the chase, they will sell their book on their website or whatever. But . . . I have to say that in all my years, that person was NEVER the writer who blew me away. It was never the manuscript that I ached over, thinking, this just HAS to see the light of day. It was never the genius, the gifted, the lyrical writer who was just so perfectly talented. It was always Bruno. Delusion runs deep in this business. And I am sure there are many examples people will give me of writer x or y who bucked the system. But I also know the three people above exist. In numbers to huge to calculate.
Thoughts? Have you met Mildred, Lulu, and Bruno?
Mark Terry and Zoe Winters both have some interesting blog posts of late on indies versus self-pubbed, on what the publishing model is, and what it means for writers of various levels of sales. I instead am going to talk about Aunt Mildred.
Aunt Mildred is the woman who corners me at the cocktail party. She has always wanted to write a book about her mother, who was a brave woman, raising four children alone during WWII, while her husband was off fighting in France. She canned her own vegetables and took the kids--including Mildred--to church on Sunday. Dad came home from the war, they sent their kids to college, they grew old together, she died. Mildred thinks her mother's story must be told. The fact that there are 25 million other people with this same story, subbing in the particulars of their lives, doesn't matter to Aunt Mildred. Will I write the book and split the royalties? After I am done chuckling softly, I tell her no. But I very kindly say, "Yes, tell your mom's story." I also point out that Mildred doesn't NEED a publisher to write a family history, and she should indeed do it as a legacy for the family. Needless to say, Aunt Mildred is insulted that I don't think Random House will be interested in her mother's story.
Aunt Mildred's daughter, Lulu, sees her opening when Aunt Mildred goes off in search of a martini and to bitch about me to the other people at the cocktail party. Lulu, you see, writes fiction. Sort of. You see, she has a great IDEA for a book, but only has written the first chapter--but she reads a lot. A LOT. So she knows what's good writing. Will I write her romance for her and split the royalties? It's a really good idea! After I politely decline, I tell her to join a writers' group, take a few writing classes, and write every single day, if she can. But Lulu just isn't interested in that. That's what EDITORS are for. She just has that really GREAT idea. Soon she goes off to join Aunt Mildred and complain that there's this snobby writer at the party.
Soon, cousin Bruno approaches me. "Those women!" he says. "Ignore them! I'm a REAL writer." Bruno goes on to tell me he writes every single day, has written three books, but knows the first two probably aren't very good, because he was learning. Now he's ready to be published with this third book, but damn if the New York houses are just shut out to anyone who doesn't KNOW someone. Hint. Hint. I offer to read Bruno's manuscript and if it's good, pass it along to my agent or my editor, whichever he would prefer. I read Bruno's manuscript. He's right. You can see, somewhere in there, some decent writing. But it's also all tell, no show. The backstory is 25 pages before we get to what I KNOW is the opening, for God's sake. There's clumsy dialogue, but yes, there is a decent plot there and a great lead character who could conceivably spin into a second book. I tell him the same thing I told his cousin, Lulu--join a group or work with an editor or take a class . . . polish it a bit and then I will be happy to submit it--yes, this shows promise. But Bruno doesn't believe he has all that back story clogging down his book because really, "Readers need to know all that." He also think Dan Brown is a hack, and if he can get published, well, then DAMN, so can Bruno. Besides, Bruno is a businessman. He's going to cut to the chase. He knows it's "good enough" and rather than chase New York . . . he is going to self-pub. His cousin Lulu teaches elementary school English and is a great speller, so she will edit it. And his own daughter is majoring in art at the local community college, so she will design the cover, and so on. He wants a book signing. As soon as possible. He's going to invite all his friends, and then, through word of mouth, before you know it, he will be a household name.
This is why I tell people I am an actuary. I avoid cocktail parties. I avoid telling ANYONE I am a writer. No one wants to hear about the hard work. They would rather rail against the New York gods than perfect their manuscript. Sometimes, someone will gain some distance after 20 rejections and go "Ah-ha! NOW I see why they rejected me." They will learn from it and the next go 'round will be smoother.
I get that some people have it all figured out and they can cut to the chase, they will sell their book on their website or whatever. But . . . I have to say that in all my years, that person was NEVER the writer who blew me away. It was never the manuscript that I ached over, thinking, this just HAS to see the light of day. It was never the genius, the gifted, the lyrical writer who was just so perfectly talented. It was always Bruno. Delusion runs deep in this business. And I am sure there are many examples people will give me of writer x or y who bucked the system. But I also know the three people above exist. In numbers to huge to calculate.
Thoughts? Have you met Mildred, Lulu, and Bruno?
Labels: Aunt Mildred
posted by Erica Orloff at 10:05 AM
47 Comments:
HA! My beloved grandmother's name was Mildred. But that's OK, she'd get a kick out of all this. After all, she was a real writer, the kind that writes every day. She never thought or dreamt of publication, she wrote for her family. She was a poet, and we have books and books and books of poetry written by her.
I digress.
Your Aunt Mildred is an aunt of mine. "Hey do you want me to tell you about me and my three best friends? I bet no one has ever read a story about 3 women who are 65 and have been friends since childhood."
I said, "That's great for you and your friends. And actually, Aunt So-and-so, I've had friends since childhood too, I actually don't think it's all that uncommon. But it is a good story, you should write it yourself. And when you do, I'd love to read it. Oooh, is that spinach dip over there?"
I've commented on Zoe's blog about how indie and self-pub is great as an option for some, but I am pretty stuck on going the conventional route. And if the indies and self-pubs out there look down on us for that, then it's a double standard for sure.
I love saying I'm a writer. And since to date I've had only first-person essays published, people are less likely to ask me to write their story, or about them. I just say that I write about ME!
Hi Amy:
I knew a great unpublished poet--loved him! He left books and books of poetry for his family.
And again . . . I am not saying certain routes are impossible or the wrong approach . . . just that the reason some self-pubbed books get a bad name--a horrible name--is the mindset. There are no shortcuts in life.
E
I tend to meet a lot of SUPER BUSY people that would right a book if only they had the TIME!
alyson:
I meet them, too. Then I tell them I have four kids, including a still-maken Demon Baby. :-)
E
I've all these folks, numerous times.
In a lot of ways it comes down to a question I sometime ask in these situations: what do you want?
Because if you want writing as a career, then self-pubbing, etc. is not the way to go. The only way to go is learn your craft, study the markets and persist.
IF,
on the other hand, all you want is a book on the shelf you can sell (or give) to family and friends that happens to have your name on it and money is no object (making it or spending it), then by all means, the price of self-pubbing via places like Lulu or iUniverse or XLibris have come down to dramatically you should, by all means, pursue it. Knock yourself.
(And I think, but don't say: and even, you know, feel free to think of yourself as a writer and call yourself a published writer. What the hell? If I can call myself a musician, you can call yourself a writer. Anybody listening knows the difference. Anyone reading will, too.)
Loved your story, Erica! My very first experience with this was actually at a funeral, and it was my aunt!! Caught me by surprise, I tell ya. She thought her daughter, divorced and separated from husband number two, but on the road to reconciliation, would be a block-buster.
"Go talk to her," she encouraged, nudging my shoulder.
"Ah, I don't think so, Aunt Corina," I said. "My stories don't come to me like that, but ah, thanks for thinking of me..."
Never thought I'd prefer to focus on a flower-draped casket and depressing flower arrangements, versus a loving relative, one that's alive.
Hi Mark:
That's a good way to look at it. If you just want to share your stories . . . then you can go the latter route. That's why I always say there are some stories, poems, family histories that are ideal for this new business model. I also know public speakers/business gurus whose back-of-room sales and web sales (nonfiction) is based very definitely on the model of POD.
ladonna:
Maybe it's that we all think we are so interesting. :-) I am the opposite. I think I am interesting only to my family--and maybe not even them!
E
For memoirs, everyone thinks their story is special, but when you look around there are thousands of people whose lives are similar. I learned that if your story isn't extraordinary your writing MUST be. More people should take your advice to take some writing classes and hone their skills. Perhaps they could create the extraordinary.
Good advice.
I've met all of them... some of them in writer's groups, believe it or not Though the ones working in crit groups aren't really there to tweak their stories or learn their craft or even to research submission procedures - they're there to tell the rest of us what we're doing wrong :-)
I thoroughly dislike the cynicism. Listen, I've gotten enough rejections to know it's difficult. I've spent my own fair deal of time wondering if I'm deluded and the rest of the world knows I suck at this. But the second you start down the path of, "the business model of publishing is terrible, makes it impossible... how can they see my talent from a one page query?... How can I get uber agents attention if everything's filtered through their assistant?" The second you go down that path, I think you lose the point, and you're giving away your own power. It's not in their hands. It's in yours. Learn the craft and persist or quit, but don't blame anyone else because it's all on you.
By the way, the one that drives me nuts is complaints about the assistant. I've seen so many 'writers' complain that some college age assistant didn't know enough to pass on their prose - hey, the assistant should be your best flippin' friend! Turning your nose down at her or him because of your perception of their age or experience kind of makes the writer as ass - and not someone I'd want to work with... definitely not someone the assistant will want to recommend to the agent.
And if you really believe the assistant is in some way beneath you, maybe you should be asking yourself why you're not skilled enough to get your stuff past her (or him).
Ick, you're not serious, are you? I only like to talk about writing amongst my writing friends.
You totally inspired an epiphany in me. I would share, here, but it ended up being a really long blog post, LOL. I don't really see myself in any of those people. Then again, I rarely, rarely, rarely ask anyone for help, let alone another writer to write my book. Major nose crinkle.
I'm more the person who is on the floor, her computer open and in pieces all over the place. And who would rather spend days and weeks and years putting it back together herself and figuring out how it works and how to fix it rather than sending it to the shop.
PS: And I'm also the sort who, once I figure it out, won't put it back together unless someone pays me, LOL. Sure, I want money and a career, but day-to-day, I think I need to be focused on what thrills me.
Hi Anti-wife:
I think--my fave--David Sedaris is a perfect example. He's hilarious. He has a very eccentric family--but they're not astoundingly unusua. But his writing is SO sharp!!
E
merry:
I've met--years ago--those crit group people who need no help and are there to elucidate the rest of us hacks.
I never complain about assistants. They are overworked, underpaid, and most do it because they really do love the biz.
E
spy:
I am DEAD SERIOUS. Totally serious. 100% serious. The week I moved into my new neighborhood, I was invited to a cocktail party. I didn't tell anyone what I did, but someone must have said something to someone else . . . and a woman approached me and said, "My family has the most dramatic story . . . would make the best book." She proceeded to talk for a half-hour about their story--which was interesting but not astounding. Then she suddenyl looked at me-totally seriously--and said, "I'm going to write my own book someday, so if you use any of this, I'll kill you."
I don't go to neighborhood parties anymore.
E
By the way, the one that drives me nuts is complaints about the assistant.
I was nervous about the assistants when I jumped in; I figured most of them had an MFA and worshipped Joyce. Turned out the assistants were very kind to me. Some of them told me privately they were championing my manuscript. If the publishing industry were ruled by assistants I wouldn't be selling apples right now.
You flexed some muscles today, Erica. Cool.
Hi Stephen:
One of the things--among MANY--that I admire so very much about you is that you WANT to polish your books, you work--hard--and you want BRUTAL feedback--more fearless than most. I have to believe people like you will end up having the manuscript I described--the one I will ache over and hope it sees the light of day.
I had one friend who wrote like that. Never pursued being published, but to this day . . . I remember his stories and ache that I am perhaps one of three people in the world who has read them.
E
This has never been a problem for me. Most of my friends (and their friends too) are not avid readers, nor aspiring writers. The ones that do read are way out of my genre. I don't think I've ever had anyone ask me to work with them... maybe there is a benefit to being unpublished after all... hmmmm :)
Like I was saying on Mark's blog the other day, everybody and his grandma (or Aunt Mildred) has a great idea for a novel. A great idea, however, is a far cry from actually writing, editing, polishing, finding an agent for, and selling a manuscript. It's all hard work, from start to finish, and there simply are no shortcuts. It probably takes as long, or longer, to become a skilled writer, as it does to become an MD or a lawyer or any other professional.
My goal is to make a living writing fiction, and the only way to do that is through a major publisher. It's the only way. If someone's goal is to see his/her name on the cover of a book and maybe sell a few hundred (or in very rare cases a few thousand) books, then self-publishing might be a way to achieve that. Still, I think there's a filtering process in traditional publishing that we're just never going to see with authors who self-pub, and the first stage of that filtering process is the literary agent.
And, you know, there's only so much time in a day. I would rather spend what time I have honing my craft than trying to play writer, agent, publisher, publicist, etc., and then not selling many copies anyway and walking around with a scarlet S forever.
This is why I never tell anyone I write anymore. And I believe that given your story, I will not tell people even if I ever do get published. There is such a disdain people have for writers that is quite appalling. Most people immediately follow up with a comment on how they too have been writing a novel for ages, as if writing a novel is the easiest thing in the world.
I think Mildred should self pub with a POD press for her family.
I will say though that I am not snubbing my nose as "evil new york" i just don't want it RIGHT NOW. The reasons are multiple, largely because I am not ready right now, and I want to PLAY right now.
And when I say I want to play, I mean in the fun way. I want to be an independent artist. Which doesn't mean I can't take crit, or that I want to "bypass the system" so I don't have to work. It means I want my own business and to be indie.
New York isn't on my radar at this point. Maybe someday, after I finish playing in the kiddie pool, assuming I can learn to write very well, and market very well, when I am in a position to be is a SAFE place with NY then I will want it.
But right now, the midlist is too rickety of a boat for me to want to get on it. It will not ensure my writing future (IMO.) And I truly believe there is very little a small press can do for me anyway and I'm at the mercy of the cover design gods.
No thank you.
Also, thanks for linking to me!
oh and sorry for the multiple postings I just remembered something. When I say "indie" I do mean an author as the publisher. I use the term "indie" because it's a positive terminology, like indie labels for film and music.
"Self-publishing" calls up all the bad examples you mentioned.
I truly believe there ARE good indies doing it right, and it's because I peripherally run in those circles. (I'm not saying I AM one of the good indies, only the readers will have the right to say that, certainly not me) But they exist and if I am good enough then I want to be a part of that.
If I'm not good enough, I'll have to figure out how to GET good enough. Either way though it's important to note that the type of indie I want to be is not the type of writer you're discussing in your post. Though I do understand what you're discussing is the majority.
I'm not looking for a short cut. My plan is VERY long term. Like next 10-20 years long term.
Here's another popular writer's take on the subject.
Hey Jude, I respect JA Konrath and his view, but I disagree that going indie is a "shortcut" I know this is incredibly hard for some people to understand or believe but some people do not really want an outside publisher.
And it's not because they want to "get rich and famous" or "take a shortcut." There are many reasons for taking the indie road, and while the stereotypes exist for a reason I think it's wrong to assume that those are the ONLY reasons people go indie.
So what are some good reasons to self-publish? I can't think of any, unless you're hawking nonfic at speaking engagements or something.
It's hard enough for major publishers with major distribution and major promo dollars to sell novels.
total creative freedom. more per book profit Complete control over cover design. Working on my own pace without having to write on deadline "under contract." Full control of marketing and distribution which allows me to coordinate my marketing efforts with that. Not having to tangle with a publisher over chasing down a niche market to sell my books to. Getting my author copies MUCH cheaper (even going POD, with a POD printer like LIghtning Source, NOT a POD vanity press like lulu) To run a small business.
To me, with publishing with someone else you might have to treat it like a business, but it's not really YOUR business. You don't control your own product.
And with sales outlets like Amazon.com, brick and mortar stores are irrelevant for many people.
Witness Seth Godin who self published his first book and sold out his print run of 26,000 copies online without brick and mortar stores being involved period.
Now Godin is a marketing genius (which I don't pretend to be), and he had a platform, but he built his own platform. At no point in this was a big publisher necessary for him to sell books.
I remain unconvinced, Zoe, but you seem very determined so best of luck to you.
BTW, lulu is one of the better POD outfits. It's not a vanity press.
Hey Jude,
I didn't mean to disparage lulu. I agree that it's a good company. My only issue personally with lulu is, I believe they go with Lightning Source for their printing. So they are a middle man and raise the costs of printing (plus they don't have as many trim size options to choose from.)
I'd go straight through lightning source, but it's a personal choice.
As to you not being convinced, I understand that. Everybody has to follow the path that is right for them, but I believe this one's right for me. Is it crazy hard? yes, but so is ANY method to get to actually making money writing fiction. It doesn't seem to me I fare much better going the traditional route.
Just yesterday, my new cleaner told me she wants to write her mother's story of coming out to New Zealand from Canada. I didn't tell her that actually, every white person has close ancestors who came out to New Zealand because we are such a young country and so her story would have no interest at all to anyone but her family. I did tell her that that would be lovely for the family to have the story to read so she should write it.
I also had an argument yesterday with a male colleague who mentioned my writing as a hobby. He got a gentle earful about that one and off he slunk.
Zoe:
Since I love indie music, and it's the majority of my iPod, I like that reference.
E
ewoh:
I think it's an odd phenomenon of this career,
E
Jude:
Thanks for the link. He and I are of like mind, then. (Torture porn argument last week aside--LOL!)
E
Zoe:
Regarding Seth . . . as you know, I ghostwrote for this guy:
www.acleareye.com
Both equally respected, both with DEEP pockets to do books right.
But it's a comparison that doesn't work. Their BUSINESS MODEL is not yours. Their business model--and my speaking from the INSIDE (I've ghostwritten for more than a few) is use the book to launch the keynote speaking, which carries a minimum of $10K a speech pricetag, get COMPANIES you consult for to buy by the case, and do back of room sales at LARGE sales and marketing conferences at which you keynote. So by virtue of the business model it's a brilliant plan, but not one that a fiction writer could EVER copy because no one is going to pay a self-pubbed fiction author $10K a speech, and buy cases of book just for the privilege of that novelist walking through the door.
E
Erica,
I understand we will have to agree to disagree, but MJ Rose sold 75,000 copies of Lip Service before being picked up. Pamela Aidan sold over 30,000 copies of her Mr. Darcy books before Simon and Schuster picked her up.
Eragon sold a whole bunch of copies before getting picked up.
J.C. Hutchins had over 40,000 listeners to his novel Seventh Son (podcast) before a major publisher picked HIM up.
And people who've sold out aren't all there is: Connie Shelton has always published her Charlie Parker mystery series under her own imprint called Intrigue press. Later she started publishing other authors as well, but she started out totally indie.
Not every person wants to sell out to New York.
I could go on and on here with examples.
Yes, these people were very talented writers, with great marketing plans, and many had ways to reach niche markets (And I argue there are many niche markets many novels can reach just by thinking a little outside the box. I know for example that a LOT of Buffy fans would be interested in my kind of novel.)
Now, the bottom line is...if I don't have the goods, and I can't market well, then I cannot go where I want to go anyway, trad publisher or not.
And I don't believe that any of the above people I've listed are empirically "better" than me. I also do not believe they are magical beings.
If I have what it takes to succeed, I will succeed whether I go indie or not. Period. If I don't have what it takes, no publisher can save me.
And sorry if that appears ranty. But my mind is not being changed on this issue. I can respect your view but I cannot follow it.
And gah, sorry for the double post here, but out of curiosity...why is it important to convince me that I'm wrong?
If I fail, who cares? If I fail, I fail but it is so damn important to me that I do it this way, I would rather fail at this than succeed your way, because that is not what's in my heart. It's not what I want and I have to live my life.
Maybe you don't want to see potential go to waste or something like that, (or maybe you don't think I've "got it" and don't want to see me lose money, but it's my money to lose and I'd spend it on stupid crap anyway) but...like I said, if I have what it takes I'll figure out a way to make it happen. I know you've been in this business a long time, and I respect your experience, but my life is different and my wants and needs are different. I have NO desire for NY unless I could get and stay on "the list." Otherwise I HAVE to be free. It's a deep seated drive.
And even if I ended up selling less than 1,000 copies. I don't care. Few people are getting rich off this writing gig anyway. It's about a whole different thing to me.
OMG, I get this all the time and I'm not even published! (yet)
I want to scream; I have my own ideas, thank you!
Instead I ask for an outline. I tell them outline each chapter detailing everything you think should be included. This outline should be between 50 and 100 pages to produce a good book-length.
Of course this is bullsh*t but they don't know that. I've used this on several people and have never recieved one outline.
:)
So this way I'm not the snobby writer at parties and Aunt Mildred still likes me. lol
I suspect I get cornered by way fewer Aunt Mildreds et al than you because my first book doesn't release until Dec. So, I'm still an unknown entity. Which is, in some ways, a comforting place to hang out. I do get a lot of title suggestions, though. For example, from a recent camping trip, I got these suggestions: I So Don't Flip Pancakes, I So Don't Do Camping, I So Don't Do Tubing...and on and on and on. Must admit though, some of them were pretty funny.
zoe:
Oh, it's not like I can't find those examples--like MJ Rose. I guess my point with this post is that . . . again, YOU talk about a 10-20 year plan. MOST people who shortcut want to cut to the chase--get me a book in six months. And MOST--in huge numbers--have cut to the chase because they have not had the fearless determination to really learn, once and for all, if they have the goods. If the self-pub model was so wonderful (again, we're getting into the nitty gritty of availability and distribution), I doubt any or most of them would have then jumped on the NY bandwagon--there are simply some things that a large publisher offers. But I really wasn't writing this about the nitty gritty--I was leaving that to you and Mark and your blogs this week. I was more speaking to the people who don't have the talent, don't even want to really KNOW they don't have the talent, don't want to hone their craft, don't have it, period . . . who then operate under this weird belief that the model is wrong--NOT that they simply don't have what it takes.
E
Aimless:
I know a few writers who use that technique.
E
barrie:
You wait. Aunt Mildred will come gunning for you.
;-)
E
Hey, Erica, fair enough.
I guess my point is...until one can get NY, they are pretty much playing in the kiddie pool. And from my POV at least, there is not a vast difference in going with a small pub and going indie oneself. (For no/really low advance, low royalties [as opposed to running things yourself and keeping the profits], and losing creative control you still don't get good distribution. If distribution is everything, small pubs don't have it. And there is no reason for me to give up that much per book money as well as creative control when they can't give me that benefit anyway.]
You'll never convince me a small pub not owned by me can do this crap for me better than I can learn to do it.
True, it's not right for everyone, but it is right for some people. Having nothing to do with shortcuts, but the fact that some people are inherently wired to control and run their own projects. Whatever outsourcing they do is cool, but some people unless they CAN get the "big stuff" want to ultimately control all aspects of their project, until and unless. I'd rather be a really big fish and give up some control, or be a tiny independent fish.
I get that maybe we're getting our wires crossed on the odds of going from the tiny indie fish to being a big fish somewhere. I'm going on the assumption that I'm highly unlikely to make it big to the degree that I would actually want before ever giving up that much control and per book profit. Considering that, I would rather own my own imprint.
To you the exceptions prove the rule. To me, they prove it can be done if done right. It's only a matter of figuring out HOW to do it right. I don't believe it's magic or luck.
And while yes, most sell out to NY, not everybody has that desire. Pamela Aidan turned Simon and Schuster down 3 times before finally accepting. She went indie because she felt it was a better business decision than going straight for a trad publisher. And she turned them down three times because she was doing fine on her own.
Peter Bowerman wrote a book called "The Well-Fed Self Publisher" and while he isn't out and out advocating selling fiction as an indie (mainly because it's just too hard for a lot of people to figure out how to find out if they have the goods and fiction is about "name," not "topic" But that remains true no matter WHERE a noob publishes) he wouldn't ever sell out to a NY pub.
He makes too much money as an indie and he LOVES publishing. And that, I think is the difference. My grandfather owned a printing company for decades, this sort of crap is in my blood. I LOVE publishing. As does Connie Shelton, which is probably why she never sold out.
Not everybody wants New York, and if a wheel is greasy enough eventually doors start to crack open a little assuming one is both tenacious and has the goods.
I can honestly say I don't know if I ever want a NY publisher or not. But I'm not saying I don't. I'm saying I honestly don't know. But I do know I don't want it right now. It's a lot of pressure in ways I'm not prepared for or interested in. I would rather "play" right now.
But I still want to create books and I still want to reach some readers, and I still want to get out there and play the game.
If I later decide I want more, that will be then, though I honestly don't know what they have to offer me if I have nothing impressive to offer them first.
The midlist is fine, but I have no desire to be on the midlist without full creative control and retention of most of the profits. That's just not how I roll.
And sorry that was so long. I don't realize how novel length these posts are until I hit the send button.
Zoe:
"Midlist" is selling 10K (minimum) to 50K of each book per six-month period (the life of a new release). How, as a fiction writer, do you propose to build that much traffic to your site, or that much of an avid following, that you can do that? Eragon, for example--his parents took out a second mortgage and they traveled the U.S. for over a year--I think two.
Also, I would just say this . . . be wary of ANY figure cited by people . . . because the inflated numbers are the stuff of publishing, and the stuff of the mythology of the "self-made" writer. (And that goes for publishing stats with regular houses too.)
Also . . . it is apples and oranges to compare the self-pubbed business author with a fiction author. The business author only has to have the goods when it comes to public speaking and if he puts out reasonable crap, it rides on the keynote. The keynote drives the sale. The fiction author is an entirely different beast.
E
Erica,
I'll figure it out. Or I won't. Either way I'm not working "for someone else" writing on a deadline at this point in my life. Not what I'm looking for right now. Since that is the case, I would rather create my stuff and put it out myself. I won't know what I can do until I get out there.
If I can't do it, that's fine, to, but I will make an attempt.
Wow, that is a GREAT post. I would think that Bruno would have been happy with your response and gone back and worked on the problems. At least, that's what a smart person would do.
I've never had those issues, but my career has been in magazine articles & PR. So I usually get questions about exactly how much I charge per hour. Which, really, why would I tell someone that?
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