Ask the Authors: Publishing

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We’ve already taken a look at the different publishing arenas in my series Pros and Cons of Traditional vs Independent vs Self-Publishing, so this installment will be a brief discussion on the topic that may repeat some of that information. Some of our panelists here also participated in that series, so if you’d like to take a more in depth look you can visit my interview with Tim Baker, or see what Art Rosch has to say, or discover Jordan Elizabeth‘s take on it, or check it out from the beginning and move on from there.

Regarding the whole publishing thing, DeAnna Knippling: I can’t answer the questions directly (nnnnnn), but if you want, here’s a blanket statement to cover the week’s stuff:

Okay, I’m deadly bored of these kinds of questions.  I know you need to ask them, but I’ve answered them so often that I really don’t have much to say other than, “Do what you want!  Mix it up!  Stir the pot!  Try something new!  Don’t try something new!”  I feel like authors get so wrapped up in “what is the secret trick to making a bajillion dollars?!?” that they stop moving forward on their journeys as writers.  The second you stop learning and growing, you’re dead.  Some of your growth comes in the publishing and marketing areas, that’s true, but writers get obsessed with success over quality, and they burn out or become repetitive cheesemongers.  And then they push forward without learning about copyright and contracts and rights and get screwed over by the people who are supposed to be “helping” them.  It’s nuts.  Read The Copyright Handbook, stop whining about having to write synopses and bios and blurbs, spend some time studying, and read the fine @#$%^&* print.

Some, like DeAnna Knippling, feel this topic is one of many which has been done to death. Of course, it has, because the rise of digital pubishing changed the game for authors and would be authors, restructuring the playing field, so today’s struggling authors may not even be sure of the rules. In today’s publishing world, this is a delimma every author has to face and we’re all looking for answers. Upcoming authors are trying to figure out this whole thing and decide which publishing route is best for them. Published authors whose books aren’t selling as well as they had hoped wonder if they made the right choice and entertain thoughts of going ‘the other way’ next time. Let’s start out this discussion by seeing what kind of mix we have on our panel.

Are you a traditionally published, small press published or self-published author?  

Jordan Elizabeth: I have books out with three small presses: Curiosity Quills, Clean Reads, and CHBB.

Cynthia Vespia: I’m what’s called a hybrid. I’ve been both small press published and now I’m mostly self-published. But the holy grail is always to land a contract with one of the big names in publishing.

Carol Riggs: All three. I have two traditionally published book with Entangled Teen, which is a smaller publisher but a notch above “small press” in my opinion. For example, they distribute with Macmillan, and my debut novel, THE BODY INSTITUTE, was featured in Barnes & Noble stores. THE LYING PLANET is also published by Entangled, while BOTTLED is published via a small press, Clean Reads. Then I’ve self-published two of my five-book series of JUNCTION 2020. I hope to release the third in the series this summer.

Chris Barili: Yes. I am a true hybrid author, with a traditional book sale (small publisher, but traditional) and a self-published series.

Janet Garber: Self Published via Lulu.

Follow-up: Would you talk a little bit about Lulu. How do they measure up as a publishing platform? What services do they offer their authors?

Janet Garber: Researching the different options was confusing. I probably decided on Lulu because I liked the salesman and also I did not find many complaints online at the time. I would not say that my approach was very scientific, but the results were more than satisfactory. I do think there are probably much cheaper options particularly if one is tech-savvy and confident about a DIY approach. I purchased additional service of press release — they basically just took what I wrote. They were supposed to send it out to appropriate outlets, but I was not at all satisfied with the outlets they approached. This was a waste of about $400!  Buyer beware!

They also offer proofreading and editing – I did not feel I needed either but I did invest in a private developmental editor and that was money well spent. As part of the LULU package, they distribute your book. So my novel is available on Amazon, B&N, Kobo, Ingram in paperback and ebook.
Margareth Stewart: This sounds quite intriguing for me as I have been published in many forms. I was traditionally published by Chiado Press – with my first book I have divorced, so now what? (Portuguese Edition). I self-published twice as it was taking too long to receive a positive answer from English Publishers. When I had my first novel ready, I did not want to self-publish – I wanted the experience of having someone from an out source to read Open and say: “Ok, let´s publish it” – Open/Pierre´s journey after war by Margareth Stewart was published by Web-e-books at the end of 2017. So from the experience above, nowadays I would say we all want recognition in a certain form. This may come through publishers, agents, readers, amazon – it does not matter – as long as it comes. Writing is an art waiting to being read.
The publishing journey is different for every author. We’ve all heard the sucess stories of a book that got miraculously got picked up by one of the big five and turned into a movie in a whirlwind of activity, and all the author had to do was type out the words. But for most of us, it isn’t that easy. We struggle and climb up from the bottom of the literary barrel, vying for the attention of either publishers or readers, trying to get our books onto the best seller lists, or at least sell well enough to be profitable.
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Many of you may already be familiar with my story. I sold a poem in 1996, when we still submitted via snail mail, but decided it wasn’t profitable for me until the rise of the computer age and digital publishing. I knew I wanted to write, so I landed gigs where ever I could, including the content factories, such as Demand Studios and Examiner.com. I founded an online writng group, I started this blog, Writing to be Read, and I went back to school and got my M.F.A. in Creative Writing. I self-published Last Call as an experiment. After getting several short stories and poems published, last April I found a small press publisher for Delilah, Dusty Saddle Publishing. Since then, I have become a college level English lecturer, and I’m working on increasing my marketing and promotion knowledge in order to promote the sales of my books, because with a small press, that’s pretty much up to the author. We all had to start somewhere. Let’s ask our panel members about their rise to get where they are now.

Would you share the story of your own publishing journey?  

Jordan Elizabeth: I feel as if I have written forever.  It wasn’t until college that I started taking my writing more seriously.  I queried agents until I finally found a home at the Belcastro Agency.  It was a short while after that my friend and fellow author Eliza Tilton introduced me to Curiosity Quills Press.  Another friend and fellow author, Cathrina Constantine, introduced me to CHBB.

Cynthia Vespia: When I was a senior in high school I picked up a copy of Dean Koontz’ Intensity from the library and I was immediately hooked. When I finished reading it, I knew I wanted to be a writer. I wanted to pull emotions from people the way Dean Koontz had done for me. (I’ll jump ahead here so I don’t drag on) Flash forward to the completion of my first novel The Crescent. I sent it around to different agencies, and even Arnold Schwarzenegger’s old agent wound up reading it, but nothing panned out. I remember coming very close to a deal with a local publishing house early on in my career but they opted to go another way. But I had a finished book, and I wanted to see what it would look like in print, so I self-published when self-publishing wasn’t cool yet. But that little book has gone on to create some great attention and is in the middle of pre-production for a movie.

My small press experience hasn’t been ideal which is why I’ve gone back to self-publishing. The one thing I will say about my small press journey is it got my series Demon Hunter in front of a lot of people and I wound up being nominated in 2009 for a Best Series award.
Carol Riggs: It took me 11 years, more than 350 rejection letters, and twelve previously written novels until my debut novel was taken on by an agent and sold to Entangled Teen. During those 11 years, I had tons of writing, rewriting, frustration, and refusing to quit going on. The road was rocky even after my debut, THE BODY INSTITUTE, got sold to Strange Chemistry, an imprint of the UK publisher, Angry Robot. Five months before my book was to come out, they closed down Strange Chemistry, and my agent and I had to scurry around and start the whole submission process over again. Pretty tooth-gnashing!

Chris Barili: My first fiction sale was a western short story called “Yellow” that I wrote for my first summer semester of my MFA studies. That story sold to The Western Online that fall, and I only mention it because 13 short story sales later, it remains the starting point for me selling fiction. My novel Smothered (as B.T. Clearwater) was originally my MFA thesis. It was a standalone romance, and I had no plans for it until Winlock Press (part of Permuted Press) held a contest to find books to premier their supernatural romance lineup. I entered and won, so not only did the book go on sale for e-books, but through Permuted’s deal with Simon and Shuster, a limited print run took place, as well, meaning–book signings at Barnes and Noble!

My Hell’s Butcher series of novellas is self-published, and I did that for the simple reason that there just aren’t markets for novellas out there in the traditional world. And since I wanted to try my hand at self-publishing, I decided the series would be my foray into that battle.

Janet Garber:  I researched the different companies online, called a few, and went with Lulu.  I was under a deadline because I wanted to sell my book at a professional conference and Lulu came through, publishing my book in a short five weeks. I was actively involved in proofing very very carefully and am happy to say end result was a fine looking book with a wonderful cover.

Margareth Stewart: I come from Academics which is a hard field to be published and to write something original. Scientific papers are  full of rules. To write a 15-page-article, it is necessary to read around 15,000 words or more, and to process it all with a very unique view. It is a though and painful process. So, when I got into the fiction world – Oh, I thought: “Heaven, I’m in heaven, And my heart beats so that I can hardly speak…”. Difficulties are part of the process. Keep writing and keep reading.

In today’s publishing world, the question of whether to go the traditional route, search out a small press with interest in your book, or to go ahead and self-publish and get your work out there is something every author has pondered at one time or another. Chances are a publisher, either taditional or small press, is not going to come knocking down your door to publish your book. Although there are authors who have had a previously self-published picked up by a publisher, it is not the norm, and although not like it once was, self-published authors may still carry a bit of stigma with publishing houses. Let’s take a look at how our panel members tackled the delimma.

What made you decide to go with traditional/small press/self-publishing?  

Jordan Elizabeth: I was hoping for a traditional publisher, but I’m thankful to my friends who have found me homes with small presses.  It seems to be true what they say about small presses being more family-oriented and helpful.

Cynthia Vespia: I went back to self-publishing because #1 the small press companies I was working with all closed their doors, and #2 because I had a very specific vision in mind for what I wanted to do with Demon Hunter when I got my rights back. But I have a few new ideas in the works that could be very successful mainstream properties, so I’m looking to go back to the traditional publishing route and finally capture that holy grail.

Carol Riggs: I think the traditional publishing makes me feel more accomplished, like my books are of better quality. I know that’s not necessarily the case, but to have professionals rooting for your writing is really reassuring and gratifying to me. For my self-published books, I’m using my JUNCTION 2020 series to grow my newsletter subscription by giving away book 1 as a freebie incentive. Find it on my website at carolriggs.com!

Janet Garber:  I was very impatient to see my book in print and hold it in my hands. So much work had gone into it, years and years of procrastination too, and I wasn’t getting any younger. For these reasons I did not even consider traditional publishers. I still hesitate on going that route because I do not want to wait 2-3 years to see my Paris novel in print, the time to secure an agent and then a publisher.  My first (nonfiction) book was traditionally published by Silver Lining Press, a branch of Barnes & Noble, and that book was brought out very quickly; I did not need an agent since they approached me with the offer to do a book, etc.

In the self-publishing arena, which platforms have you found good to work with? How do you deal with KDP’s exclusivity clause, which states that your work may not appear on any other platform?

Art Rosch: The KDP Select option IS exclusive but operates for 90 days.  There’s an auto-renew function, and if you don’t want to be enslaved by it, make sure that it is not checked.  I tried it for a few cycles.  I had to remove my book from Smashwords and go into the Dashboard to Channel Manager and remove distribution channels like Apple, Barnes and Noble, etc.  In any case, my books didn’t  sell.

I like Smashwords approach and the universality of their formats.  But no one competes with Amazon.  I haven’t published any physical books yet, but I have a bit of change on hand and I think I”ll give it a go.  Everyone has their favorite provider of such services, so there’s plenty of choice.  Publish-on-demand.  I have no demand.  I have a more serious issue, it’s a literary one, a revision of Chapter One of my autobiographical novel.  I don’t care for it at the moment.  A book begun in 1976 and I’m still revising it.  Heh!

 Cynthia Vespia: I use Amazon for ebook and print. I also have my work on Smashwords, Barnes and Noble, and I’ve used LuLu for some hardcover print because Amazon didn’t have that option at the time. I’ve heard that Draft 2 Digital is the place to have your ebooks as well, but I haven’t looked at it yet.

For the KDP clause what I have been doing is using it for a new release and then not renewing the enrollment. I’d rather have my work in as many spots as possible.

Although you are self-published, do you still long for the esteem of a traditional publisher? Why or why not?

Janet Garber: Since I have published widely in multiple genres and have one book traditionally published, I’m not craving validation from a traditional publisher. The appeal is mainly the feeling that a traditional publisher would sell more of my books and be better equipped to setting up opportunities for promotion (book tours, speaking engagements, etc.) Let’s not forget hybrid publishers – not sure where they fit in.

What are your thoughts on small presses? What are the pros and cons? Do you curse them or sing their praises?

Cynthia Vespia: I’ve worked with a few small presses and TBH it wasn’t ever anything that wowed me in terms of packaging. As a graphic designer I can do my own covers, and there are more than a few freelance editors whom I can hire to polish the manuscript. I never saw being under the label of a small press to be more beneficial to going indie. They just did not have the means to promote my work in a manner any better than I could do myself. Actually, it really tied my hands sometimes because if I wanted to do a sale or bring some physical copies to an event I had to go through the small press as wait. In the indie publishing world you are in charge of it all. I like that freedom of movement. I will say the one good thing about a small press would be if they have the means to get you into a bookstore or a library because most of those retailers frown upon the POD style of print that most indie authors use.

Traditional publishing has always been a tough road, and with the rise of independent publishing, I think it has gotten even tougher. Although the ‘big five’ are still out there, many traditional publishing houses and small presses are finding it hard to stay in the game with the rise of the ebook and digital publishing. Independent bookstores, as well as some of the larger chains of brick and mortar stores have folded in recent years.

According to Author Earnings’ Print vs. Digital Report, independent authors walk away with a bigger piece of the pie, overall, than traditionally published authors. Pair that with the continuous upward struggle to get noticed by traditional publishers, it is no wonder so many authors are publishing independently, even though by doing so they are taking on multiple roles that traditional publishers would cover, such as covers, marketing and promotion, etc… Let’s see if our panel members agree.

What do you see as the pros and cons of independent/traditional publishing? 

(First from those in favor of the traditional route): 

Jordan Elizabeth: The best pro I can see for traditional publishing is that you get help with marketing.  They might not hold your hand, but they will give you guidance.  A con is that you don’t make as much off ads as you would if you self-publish.

Carol Riggs: Obviously, an author has more control over writing content and cover art with indie publishing. We can make more money per book, although often a traditional publisher can help market an author, so sometimes more books are sold overall; maybe that evens out, I’m not sure. I do know authors who have done awesomely with both indie and traditional publishing. Which path you take depends on what your needs and goals are. But a definite downside to indie is you do ALL the marketing yourself, and you’d better have or hire a good editor, or quality will suffer and your book’s reception likewise. Authors being in a rush to get their books out before they’re ready gives indie publishing a bad name. Editing and polishing are essential.

(Now let’s here from the independent publishing fans):

Cynthia Vespia: There’s a lot of pros to indie publishing. As I said, you have complete control over your own work. It allows books that might never see the light of day get out to readers who enjoy the story. On the other hand, that’s the same con. There are so many people out there writing books now, and they aren’t taking the time to polish them before they get published so you get a lot of, dare I say “garage sale junk” out there. Writing is a business like anything else. You have to take the time to learn everything about it from the craft of writing, to presentation, to marketing. And that isn’t strictly for indie authors either. If you get traditional or small press published you still need to be your biggest fan to get your work out there. In a sea of books yours needs to stand out.

(And from those who have dipped into both publishing arenas):

Chris Barili: Indy publishing is great if you want control, want higher royalty cuts, and don’t like the “gatekeeper” system, but it is a LOT of work. And money. I spend between $500 and $600 publishing each Hell’s Butcher novella. That’s money I’ll never get back, as they are very  unlikely to round up a big enough audience on their own. And as an Indy author, all that marketing, publicity, and so forth — that’s on you. And I suck at it.

The traditional route costs you little or nothing out of pocket, but you give up some control, and of course it takes a MUCH longer time. I was fortunate with Winlock , as they got my e-books out in 3 months. Paperbacks a year later. A traditional publisher would take 18 – 24 months. Self-publishing about a month, probably.

Janet Garber: Pros: [With the traditional route] many people are involved in evaluating your book, making developmental suggestions and edits; these people are very savvy about the publishing world and what appeals to readers; the publishers hopefully undertake some degree of marketing for you or at least guide you to getting best bang for your book in terms of marketing dollars spent.

Cons: effort required to send queries to agents and wait-wait-wait for a positive response; possibility that agent or publisher could change their minds about publishing your book after you’ve invested a lot of time on pleasing them; need to do multiple rewrites and revisions that may alter what you wanted to say and how you wanted to say it.

It seems each publishing avenue has its advantages and disadvantages. Traditionl publishing is a tough road to travel, but it carries the advantages of having available editors, cover artists and media coverage, as well as possible prestige in some areas. While it may be at least a little bit easier to get noticed by a small independent press, the advantages are neglible, depending on the press. While some provide editing and cover artists, others don’t even do that. Most will provide some marketing and promotion, but even that isn’t guarunteed, and you may have to give up control over your work. In self publishing, you maintain control of your work, but you also have to hire out for editing and cover artists, and take on the role of marketer or pay to have it done, as well.

Whether you choose to seek out and strive for a traditional publisher, aim your efforts toward small presses, or do it all yourself to get your work out there and maintain control over it, we all have to find ways to make our writing stand out amongst a diluge of other writers and authors. Most of that must come from craft, but choosing the right cover image and giving your book a killer title help, too. But no one will ever pick up yoru book and read it unless they know it’s there, so marketing and promotion are a bigger here. We have a segment coming in about three weeks on that topic, but for now be sure and drop by next Monday, when we’ll be talking about the differences in genres.

If you have a question you’ve always wanted answered, but it’s not covered in the post on that topic, or if our panel’s answers have stirred new questions within you, pose your query in the comments. Make note if it is directed toward a specific author. Questions will be directed to the general panel unless otherwise specified. Then, in the final post for the series, I will present your questions and the responses I recieved from panel members.

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Interview with author DeAnna Knippling

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This week, I’m interviewing Colorado freelance writer, editor, author and book designer, DeAnna Knippling. I first met DeAnna through the Pike’s Peak Writers when I was still serving as the Southern Colorado Literature Examiner. What struck me about her was her enthusiasm and willingness to help where ever she can. She treats her writing as a business and goes at it with a high degree of professionalism, yet she is personable and willing to share what she’s learned from her own writing experiences.

DeAnna Knippling writes science fiction, fantasy, horror, crime, and mystery for adults under her own name; adventurous and weird fiction for middle-grade (8-12 year old) kids under the pseudonym De Kenyon; and various thriller and suspense fiction for her ghostwriting clients under various and non-disclosable names. Her latest book, Alice’s Adventures in Underland:  The Queen of Stilled Hearts, combines two of her favorite topics–zombies and Lewis Carroll.  It’s the story of a tame zombie who told a little girl named Alice a story that got them both in more trouble than they could handle. Her short fiction has appeared in Black Static, Penumbra, Crossed Genres, Three-Lobed Burning Eye, and more.

Kaye: You created Wonderland Press to get your books out there. What all is involved in creating a press for your work and what are the advantages of doing so? I mean, why would an author do this rather than just throwing their book out on Amazon or Smashwords?

DeAnna: This isn’t one of the fun answers.  It’s stupid easy to make a “press.”  It involves no special equipment.  You look online, make sure nobody else has one of that name in your state, register a business name with your state or county (look up, “How to register a business name in [name of state]”), and Bob’s your uncle.  You might want to get more complex with an LLC or something–but I recommend leaving that for later, unless you already have experience doing that.  I am, of course not a lawyer and can’t give legal advice.  When you want to start looking at an LLC or corporation, I believe, is when you start having to worry about taxes and tax brackets.

I set up my press, “Wonderland Press,” because some publishing sites back in the day didn’t want you to publish books under multiple pen names under the same account without having a publisher name.  Then I realized that I wouldn’t be able to keep up with multiple blogs for my pen names, and moved the names to the same website (for now).  However, things are changing, and I may need to move back to multiple websites, mailing lists, etc.  The thing about business is that everything changes based on the scale of what you’re doing and how much time has passed since you set things up.  It seems like it’s more important to stick to a couple of core principles (bring customers back to a location you can control rather than social media–that kind of thing) and stay flexible in the details than it is to get wrapped up in questions like, “Should I set up a small press?”
Kaye: A lot of your books don’t fit neatly into a genre category or subcategory. How do you describe your books?
DeAnna: I’ve struggled with genre categories since I started publishing.  Part of the reason for that is that my subconscious loves to smash incongruous things together.  For example, I love puns and double entendres–two ways of seeing meaning at the same time–and I love stories that are really two things that don’t really go together being put together (like cowboys in space–Firefly).  The kinds of stories that I tend to write are kind of the opposite of sitting firmly within a genre and therefore being easy to describe.
I’m both looking into ways to get around this (by sneaking more solidly into genres) and finding out what parts of my genres I’m missing out on.  I recently finished up what I call “my cheesy ’80s genre novel.”  When I did the research to try to find out where to put it, I found that…it actually fits pretty solidly into the current Occult subgenre of Horror.  I keep trying to tell myself there’s nothing wrong with writing what feels cheesy (I certainly read it), but sometimes it takes a while for me to learn the obvious.
To actually answer your question?  Since I can’t copy my competitors, I describe my books by putting on the silliest movie announcer voice I can come up with and reading the blurbs out loud.  The more mock-serious the better.  Somehow it works.
Kaye: What’s the most fun part of writing a novel or a story? What’s the least fun part?
DeAnna: Most fun:  The fun parts. Least fun:  The parts that stick the fun parts together.
I get really bored at the least fun parts.  I think that’s where the books I write start getting weird.  If I plan a book, then I plan something at least a little bit more genre-specific than what actually comes out.  But then I get bored and jump the tracks.  I feel like writing a book is a process of going “Ooooh, shiny” over and over until I step into the circle of rope hidden under the leaves in the jungle, and the ending jerks me upside down into the air.
I wish it were that quick to write the end–it’s the slowest part of the book for me as I wrap up all the shinies that I’ve picked up throughout the plot–but that’s what it feels like.
Kaye: If your writing suddenly made you rich and famous, what would you do?
DeAnna: More of the same.  My major goal in life is to allow my wonderful spouse to become a pool boy at our eccentric castle in the mountains.  Travel more.  At least, I say those things.  Probably I’d still just begrudge the time I wasn’t reading or writing.  I’d go to exotic locations and just read a book.
Kaye: Why do you think some writers sell well, and others don’t?
DeAnna: Probably that stuff I mentioned about genre.  A lot of writers will look at a successful writer’s book and go, “What a terrible writer!  Why do they sell?!?”
But here’s my experience (based on ghostwriting so much):
The stuff that I’m forced to write to genre by my clients sells a lot better than the stuff I write for myself.
Granted, you still need to know what you’re doing.  But writing a book isn’t just about pretty sentences–it’s about making the constant readers happy, feeding their addictions.  The answer to why some books are massive successes when others aren’t is often, “Because they can see the forest for the trees–and you can’t.”  Cold but true.
Kaye: Any advice for upcoming authors who are trying to get a foot in the door?

DeAnna: Just keep working.  Everybody’s in a hurry to succeed.  Success!  Millions!  Riches!  Fame! But, in the end, it comes back to the basics.  Did you read?  Did you write?  Did you learn something?  Did you talk to other people in the writing community?

“A foot in the door” is just the feeling that the universe owes you something, or that you can sneak something past somebody.  “How do I cut in line past the people who have been working their asses off for years?” And the only answers are:  Write a good story, network, value your readers, don’t be stupid about genre, work your ass off, don’t fail on purpose.  That last one is pretty significant.  I’ve seen a lot of people give up or just put things off until they’re “ready.”  The hell with waiting for “ready.”  If you’re going to do that, you’ve already failed, because this is a bootstrap industry–nobody gets the magic green light.  Even people who are going traditional start out by hustling for publishers and agents.  Make someone else tell you no.  Make them tell you no a lot.
I want to thank DeAnna for joining us here on Writing to be Read, and for sharing her knowledge with us. If you’d like to learn more about Deanna or her books, her website and blog are at www.WonderlandPress.com.  You can also find her on Facebook and Twitter.

 

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Pros and Cons of Traditional vs. Independent vs.Self-Publishing (Part 10): Conclusions

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This series on publishing has been a lot of fun to create, and I hope maybe there are some of you who have read all of parts 1-9. I started it because I found that while those in my academic career seemed to be in favor of traditional publishing, with many instructors providing information about self-publishing as an option only reluctantly, while authors all around me were getting their work out there by self-publishing their books.

As I looked into the topic more, I found that some folks used the terms independently published and self-published as if they were interchangeable, while independent publishers are really smaller independent publishing houses that are not among the “big five” traditional publishers. As stated in Part 2, for the purposes of this series that is how I will refer to and view independent publishers.

One of the reasons I enjoyed writing this publishing series was that I am fortunate to know many authors, from all three publishing models, and I was able to gather many different viewpoints, examining it from all sides. Overall, I was able to obtain a pretty healthy balance between the three models. I interviewed self-published authors Jeff Bowles, Tim Baker and Arthur Rosch. In the traditional publishing arena, I talked with children’s author, Stacia Deutsch and historical and biographical author, Mark Shaw. I was only able to interview one independently published author, YA author Jordan Elizabeth, but to even it out, I also interviewed two independent publishers, Curiosity Quills Press and Caleb Seeling, owner of Conundrum Press. And for a nice rounded point of view, I spoke with my friend and children’s author, Nancy Oswald, who has published under all three models.

Now is the time to look at the series as a whole and see what conclusions can be drawn. While I think all authors secretly long for a traditional publishing deal, because being picked up by a major publishing house is ingrained in us as a symbol of success, I see independent publishing houses as a feasible alternative to holding out for the big boys, which can take a long time and for some of us, may never pay off. In some instances, debut authors have a better chance of being picked up by a smaller independent press. With both these options identifying markets which would be a good fit for your work, preparing submissions, writing cover letters and queries, synopsis and outlines will take up a lot of time which might be better spent on writing stories. Once accepted by either a major or a smaller publishing house, the author may be expected to do a good portion of the marketing and promotion, as well, although services such as editing  and illustration may be provided.

The upside to signing with a traditional publisher is that the major publishing houses pay out an advance on projected royalties, so major money can be seen in your near future. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties. Of course, as Tim Baker pointed out in Part 2, the flip side to collecting a sizeable royalty is if your book flops. It would be a drag to have to pay it all back. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties.

For self-published authors, there are no advances, but they keep a higher portion of their royalties than with traditional or independent publishing houses. Still, there is no big money now, and no guarantee that there ever will be. Authors may be waiting a long time for their writing to pay off.

As Stacia Deutsch mentioned in Part 4 of the series, traditional publishers provide professional editing and illustrators, to be sure your final product is of good quality. I believe this is true of independent publishing houses, as well, but you won’t find it available through the self-publishing process; one reason self-publishing carries with it such stigma. Gatekeepers insure the book you put out will be the absolute best it can be.

Despite the stigma surrounding self-published authors, due in part to a few self-publishers who like to take short cuts in lieu of putting out a quality product, there are some very good self-published authors out there.  As Jordan Elizabeth pointed out in Part 6, self-publishing has a lot to offer. Self-published authors have a lot more control over their work than traditionally published authors, who do not chose their own cover art, and may not even get to keep their own title.

As Jeff Bowles pointed out in Part 1, another possible advantage to self-publishing is the ease and relative inexpense for today’s authors. You can publish a book with Amazon almost for free, and collect either 35% or 70% of your royalties, depending on the price you place on your book. I can attest to this as it is what I did with my short story, Last Call, and it didn’t cost me one cent. At least that way, if my story doesn’t rise to the top of the best sellers lists, (which it hasn’t), I really haven’t lost anything. The important thing to remember when self-publishing is that you need to put out a quality product. It is worth it to find a good editor, and for all of us starving writers out there, an editor can be employed for a minimal expense. I also suggest utilizing a good critique partner when funds are low, but be sure to have some type of editing done, by someone other than yourself, before publishing your book.

Although Amazon has made publishing extremely easy and inexpensive for authors, they have also monopolized the industry and are making it more difficult for independent publishers, as Caleb Seeling explained in Part 8. Learn more about the negative effects Amazon has had on the publishing industry in the Institute for Local Self Reliance’s report, which emphasizes, from a consumer standpoint, the need to buy local and battle monopolization. If readers heed this warning and buy their books from local independent, or chain, bookstores right down the block, the publishing industry may change yet again.

Amazon’s monopolization affects authors and reviewers as well, as is discussed in What Amazon’s New Review Policies Mean for “Writing to be Read”. As much as Amazon’s review policies effect the reviewer, they also effect the authors who are depending on those reviews to get their books sold.

Author Mark Shaw gave us a heads up about vanity, or subsidy publishers, charging unsuspecting authors exorbitant fees to publish their work as Mark Shaw warns in Part 5. They prey on authors who desire to get their work published so bad that they are willing to empty their coffers to do so. These publishers can get outrageously expensive for authors, so don’t be drawn in. The kicker is that even if you publish on Amazon or Create Space in order to fit your budget, you still may need to spend quite a bit of time and/or money on marketing as Art Rosch tells us in Part 3.

Independent publishing houses, also referred to as small or medium-sized presses, work along the same lines as traditional publishers, but they don’t publish as many books each year as the big five do. In addition, they tend to be more specific in what they are looking for, with most having very specialized niches that your book must fit into to be published. Although all independent publishers may not follow this practice, publisher Caleb Seeling says he actually seeks out authors whose work fits into his niche. In any case, authors should be familiar with submission guidelines of the publishing house they are submitting to, whether large or small. In her article, How to Smartly Evaluate a Small Publisher, Jane Friedman, of The Hot Sheet, (the publishing industry’s news letter for authors), offers some great tips on what to look for.

In Part 7, Nancy Oswald points out one of the big advantages to publishing with a small press is the more personal relationship between author and publisher. Whereas a traditional publishing house may not be able to put a name with a face, independent publishers work closely with their authors because they only have a few at any one time. Independent publishers may also have a shorter wait time for publication than traditional houses, which can be quite lengthy.

And then there are the new kids on the block, like Curiosity Quills Press, which are hybrid publishers, offering various combinations of traditional percs with self-publishing author responsibilities. These small independent presses may charge authors for some services, like subsidy publishing, but they also provide a certain amount of author copies at no cost, provide author support, and the services they do charge for are optional. You can find out more about this new model of publishing in my post, Hybrid Publishers: What are they all about?

After hearing from the experts, it seems no matter which model you choose to publish under, there is still a lot of non-writing activities required of authors, including marketing and promotion, resulting in the need for Today’s Authors to Wear Many Different Hats. Of course, you can also do as author Jeff Lyons suggests in his interview with Arwen Chandler, and hire a third party to handle such tasks, so we, as authors can get down to the business of writing. The only problem I see with this is that you must make money before you can spend money, paying someone else to do the tasks that don’t come as naturally as writing does.

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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 7): Interview with Children’s Author, Nancy Oswald

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In this series, we’ve taken a look at the publishing industry, which today, isn’t played by the same rules as it was 30 years ago, when traditional or independent publishing houses were about the only options an aspiring writer had. The rise in digital and self-publishing has opened up new options for aspiring authors and changed some of the rules by which the game is now played. We’ve heard from self-published authors, Jeff Bowles, Tim Baker and Arthur Rosch, and traditionally published authors, Stacia Deutsch and Mark Shaw, as well as independently published author, Jordan Elizabeth.

In this week’s interview, we’ll hear from an author who has published work via all three publishing models, award winning children’s author, Nancy Oswald. She’s published traditionally with Holt, a big New York publisher, and a small independent publisher, Filter Press, LLC. In addition, her first book was published by Scholastic Canada, but she later rewrote it and self-published a Create Space version in 2013. Nancy’s Ruby and Maude Adventure series includes Rescue in Poverty Gulch, Trouble on the Tracks and her latest book, to be released this month, Trouble Returns. (Be sure and catch my review of Trouble Returns this Friday on Writing to be Read.) Her other publishing credits include Hard Face Moon, Edward Wynkoop: Soldier and Indian Agent, Nothing Here But Stones, and Insects in the Infield. And she has a very unusual story about how she broke into the publishing industry.

Kaye: When did you know you wanted to be an author?  

Nancy: In my early teens, I thought writing children’s books would be really cool and I enjoyed writing—some poetry—but most of it school related.  I didn’t get serious about publication until I was in my late twenties. 

Kaye: Would you share your own publishing story with us? 

Nancy: I wrote several books that I call my “cardboard cover” books for my stepson who was five when I married my husband.  They were hand written and crudely illustrated and as you’ve probably guessed, had cardboard covers that were put together with rings that clipped through the pages and the cardboard and held the whole thing together.  I did a couple of cardboard cover books for friends, too.  But my stepson outgrew his “picture” books, so I started in on a chapter book.  We lived in British Columbia at that time, so I mailed him the first chapter for Christmas and sent one chapter a month to him, finishing the book the next Christmas.  This book was typed, yes on a typewriter, but still was a FAT cardboard cover book.  After many many rewrites, this book became my first published novel for young readers.  It had 35 rejections and was finally picked up by Scholastic Canada and five years later was reprinted by them.  To this day, thanks to Scholastic’s book club program, it has outsold any of my other books. 

Kaye: What do you see as pros and cons of self-publishing?   

Nancy: In 2013, I self-published the above mentioned book.  I’ve had the rights back since about 1996, so I rewrote the book, adding about 10,000 words and it ended up as a winner in the CIPA Evvy award competition.   My likes:  I really enjoyed having full control.  I used Create Space and used their interior design service, but did the other parts myself. The Create Space team was accessible and helpful, and I had a really positive experience from beginning to end.  A word of caution:  you really need to have a clear idea of the design, font size, layout ahead of time.  You have to be clear in communicating what you want. Negatives:  Reviews were hard to get, ALL of the marketing is up to you, and if you don’t have a well-edited, professional looking copy, it will sink you

Kaye: What do you see as the pros and cons of independent publishing?  
Nancy: I’m not sure about this term.  I’ve heard self-publishing referred to as Independent publishing.  My current publisher refers to herself as a small (traditional) publisher, although I’ve also heard small publishers referred to as Independent Publishers.  As for the pros of working with a small publisher, I love it.  One real perk with my publisher, at least, is my books will not ever go out of print as long as this publisher is in business.  I have a very personal (face to face) relationship with my publisher and have lots of input on design, covers, and other aspects of publication.  Also, the time from acceptance to publication is shorter. Cons:  No advance, lower sales, lower visibility.
Kaye: What do you see as the pros and cons of traditional publishing? 
Nancy: I was fortunate to have my first historical fiction book for young readers published by Henry Holt which clearly is a traditional publisher.  Pros:  Nice advance, publicity in major library catalogs, great editing (multiple editors with eyes on the book—particularly for the final reads). 
Cons:  Long wait before publication,  (like being on the tarmac at an airport, you’re given your place in line and inch forward with all the other waiting planes before take-off)  My book went into a “temporarily our of stock” status after about 4 years.
Kaye: How much does the non-writing work, (marketing & promotion, illustrations & book covers, etc…), that you must do yourself vary between the different models? 
Nancy: For my self-published book, I might have done a little more particularly researching and soliciting reviews.  But otherwise, I’d say it’s a wash.  I do about the same amount for every book and have had to advocate for each and every one of them.  With Holt, and their catalog, there was some inherent publicity with the catalog and the visibility of Holt, but other than that, I have been in the trenches with everyone else.  I’ve tried a laundry list of things and am still trying.  There is no magic bullet.
Kaye: Which publishing model would you recommend to aspiring authors, and why? 
Nancy: My answer here is, it depends.  I think you have to take a good look at your goals as a writer and your reasons for writing your book.  If, for instance, you have a non-fiction book with information people are drooling over, then self-publish and get yourself out there to groups to speak about your topic.  This is a great way to sell books.  If you want a book for family and friends, and don’t care about sales, this is also best.  And if you have lots of energy for marketing and love interacting with people and don’t mind selling, then, go for it!  Self-publishing does not have the stigma it used to, but first and foremost create a good product, so your book doesn’t fall into the negative paradigm some people still hold about self-publishing.  Other than that, research publishers and find the one you feel is the best match for your book.  If your heart is set on being published with a New York publisher, keep at it—go to conferences, get an agent, and start in.  People have done this successfully, but I believe you have to be more patient and persistent and also very savvy about book publication in 2016.  Otherwise, just start in by researching small publishers and see which ones fit your project.  You’ll know it’s the right one because they will like your work and you will like their mission and goals. 
I want to thank Nancy for joining us and sharing her thoughts and her unique publishing story here on Writing to be Read. You can learn more about Nancy and her books on her website. Be sure and join us the next two Mondays for Part 8 and Part 9, when we will hear from two independent publishing houses, Curiosity Quills Press and Conundrum Press. It promises to be interesting, so don’t miss it.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 5): Interview with Traditionally Published Author, Mark Shaw

 

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Those who remember traditional publishing prior to the digital age, recall an industry which was not easy to break into, but with persistence, it could pay off with large advances, and a contract from one of the “Big Five” publishing houses. Your publisher took care of the rest: editing and proofreading, cover and/or illustrations, publicity and marketing. In many ways, it is the same today, but one thing self-publishing and independent publishing have changed, is that they showed traditional publishers that authors were capable of doing their own promotion and marketing. Today’s authors, it seems, are now expected to carry the weight for these tasks no matter which model is chosen.

The rise of digital and self-publishing also brought about a rise in publishing scams, designed to take advantage of aspiring authors and empty their pocketbooks. In the 1990s, when I began writing, they called them vanity presses.An author would send in their work and receive a very favorable response, praising their work and offering to publish it for a fee. As the author moves through the publishing process, the fees keep adding up. Today they are called subsidy publishers. As with traditional publishers, subsidy publishers hold the rights to the book, although the author is paying them to publish it.

So far in the series we’ve heard from self-published authors, Jeff Bowles, Tim Baker and Art Rosch, and we’ve heard from traditionally published author Stacia Deutsch. Join me today to get more of the traditionally published POV in my interview with author Mark Shaw. Among his 25 published works are books I’ve had the pleasure of reviewing as The Southern Colorado Literature Examiner: The Mask of Holiness, a biography of Thomas Merton, and Stations Along the Way, a biography of former Hitler youth leader, Ursela Martens. In addition  to being a traditionally published author, Mark is a literary consultant and entertainment attorney, so he knows of what he speaks.

Kaye: When did you know you wanted to be an author?

Mark: I’m a former criminal defense lawyer and I never considered being an author until I covered the Mike Tyson rape trial for CNN, ESPN, and USA Today. I believed Tyson was denied justice and so I wrote my first book, Down For the Count.

Kaye: Would you share your own publishing story with us?

Mark: I was able to find a literary agent to represent the Tyson book and he found a traditional publisher. I had enjoyed the writing process and the book sold well so I looked for new subjects to write about and within a few years I had published several traditionally published books. Looking for a theme to weave through new books, I landed on “justice denied” and the last four or five I have written including my latest “The Reporter Who Knew Too Much: The Mysterious Death of What’s My Line TV Star and Media Icon Dorothy Kilgallen,” are symbolic of the type of books I write. Sometimes I have to pinch myself that this book will be my 25th since I never had any formal training as a writer but I’m blessed that people have enjoyed the “stop and think” aspect of the books and continue to praise my body of work.

Kaye: What do you see as pros and cons of self-publishing?

Mark: As noted in my book about the publishing process, “How to Become a Published Author: Idea to Publication,” as long as it’s what we call “traditional self-publishing (no subsidy publisher) then okay, but the career of any writer who uses a subsidy publisher where they pay to have the book published (Dorrance, iUniverse, Trafford, AuthorHouse, XLibris, etc.) is doomed with many who have come to me for consulting telling horror stories of losing their life savings, their homes, etc. Subsidy Publishing is the absolute kiss of death and so many writers fall prey to subsidy publishers that promise the moon and end up with boxes of books in the basement they can never sell since libraries and most bookstores won’t touch them. This is unfortunate since aspiring authors can use a combination of Create Space and Ingram Spark to publish a book with very minimal cost and this traditional self-publishing method is a badge of honor and libraries and bookstores will be interested in purchasing and stocking the book.

Kaye: What do you see as the pros and cons of independent publishing?

Mark: There seems to be confusion as to what this term means but as long as it doesn’t include subsidy publishing, I’m all for it.

Kaye: What do you see as the pros and cons of traditional publishing?

Mark: I encourage writers to try the traditional publishing route by using query letters and book proposals and a good strategy for landing a literary agent or publisher and if that doesn’t work, then use traditional self-publishing. The advantages of traditional publishing include the publisher paying for all aspects of the publishing process, editing, layout, cover, etc. without the writer putting up a cent but most importantly traditional publishing includes distribution (my new book has Simon&Schuster distribution) which traditional self-publishing lacks since the author must do the distribution. One disadvantage these days for a first time author is that unlike ten years ago, many traditional publishers will not do much toward promotion and thus the author is expected to do the major part of the work.

Kaye: How much does the non-writing work, (marketing & promotion, illustrations & book covers, etc…), that you must do yourself vary between the different models?

Mark: You are talking about completely different subjects here. With marketing and promotion, regardless of the method of publishing, an author has to understand that he or she must be the guiding force behind book publicity. With illustrations and book covers, etc. traditional publishers will handle this task while the author of any traditional self-published book is responsible for handling these matters and there are several outstanding consultants who can help with this tasks. Again, writers should stay away from subsidy publishers many of whom produce inferior books that cause problems right away with the authors’ reputation.

Kaye: Do you recommend traditional publishing for today’s aspiring authors, and why or why not?

Mark: Absolutely but writers must proceed with a well-developed strategy such as the “10-Step Method” outlined in “How to Become a Published Author.” There are no shortcuts possible here and most writers don’t want to put in the hard work necessary to secure a literary agent so their chances of securing a publisher are optimized.

 

I want to thank Mark for sharing his thoughts with us.  Also, I’m excited to be reviewing his latest book. Be sure and catch my review of The Reporter Who Knew Too Much on November 25, right here on Writing to be Read. To learn more about Mark Shaw or his books visit his website.

Don’t miss next Monday’s post and my interview with independently published YA author, Jordan Elizabeth, and get her thoughts on today’s publishing industry on Writing to be Read.

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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 4): Interview with Traditionally Published Children’s Author, Stacia Deutsch

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So far, in this publishing series, we’ve heard from three self-published authors who say self-publishing is the way to go for today’s authors. In Part 1, we heard from my talented friend and cohort, Jeff Bowles. In Part 2, we heard from tale spinner, Tim Baker. And last week, in Part 3, we heard from storyteller and author, Arthur Rosch. This week, we’ll hear from the other side of the writing field, as I interview a traditionally published author.

Join me for today’s interview with Stacia Deutsch, who is the author of more than two hundred children’s books, both original and write for hire. I had the pleasure of first, being a cohort to and then, studying under this amazing children’s author, so vibrant and full of energy, and always smiling. She is the author of the eight book, award winning, chapter book series Blast to the Past. Her resume includes Nancy Drew and the Clue Crew,The Boxcar Children, and Mean Ghouls from Scholastic. Stacia has also written junior movie tie in novels for summer blockbuster films, including BATMAN, THE DARK KNIGHT and the New York Times Best Sellers: CLOUDY WITH A CHANCE OF MEATBALLS JR.  and THE SMURFS.

Kaye: When did you know you wanted to be an author?

 Stacia: I didn’t know early on. This is a second career for me. One night when my kids were small, I was reading Harry Potter outlaid to them when I had an idea for a kids book about 4 kids who time travel and meet famous people n history. That became Blast to the Past. I wrote 3 whole books in the series before I ever tried to sell them.
Kaye: Would you share your own publishing story with us?
Stacia: Tell everyone you know you are writing a book. I was at dinner with people I didn’t know well. I said I’d finished a book and the woman said, “My nephew is an agent.” He wasn’t, but he knew a lot of them and helped get my first agent. Once I sold Blast to the Past, the editor asked if I wanted to ghost write Nancy Drew. I’ve been working steadily, mostly in licensed work, ever since.
Kaye: What do you see as pros and cons of self-publishing?
Stacia: I decided to try it with a book called Lucky Phoo about 3 girls who share a lucky dog. If you aren’t committed to making your self published book your life, and working at it daily, then don’t start. I sell hardly any because I am doing other things. People who do well are dedicated to the process.

Kaye: What do you see as the pros and cons of traditional publishing? 

Stacia: I love being with traditional houses and finding my books in the big box stores, or at the airport, or at Scholastic book fairs. There is no other way into those places. The issue is that you aren’t making every cent from your own book, but you have little outlay as well. My agent gets 15% of everything I sell.

Kaye: How much non-writing work, (marketing & promotion, illustrations & book covers, etc…), do you do yourself for your books?

Stacia: It’s a big deal for the author to do their own promotion and really necessary. You have to be devoted to your audience, and build a following to be successful. You need a budget. Do you want to travel, do a book tour? website? blog tour? Everything costs. So, regardless of how you get published, play how much money and time you are willing to put into it.

Kaye: Would you recommend your chosen path to publication, to emerging writers? Why or why not?

Stacia: I am an advocate for traditional publishing. I think agents and editors are gate keepers for quality. But if you have a good idea, that doesn’t fit what houses are looking for, go for it. Just be aware of what you’ll need to do to make it work.

I want to thank Stacia for sharing her thoughts on the publishing industry with us today. If you’d like to learn more about Stacia, you can find her at www.staciadeutsch.com, @staciadeutsch and http://www.facebook/staciadeutsch. Be sure and catch Part 4 of the series next week, when I’ll interview traditionally published author Mark Shaw on Writing to be Read.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 3): Interview with Self-Published Author Arthur Rosch

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Your at a dinner party, chatting with other guests when someone asks what you do. You say that you’re an author and everyone is adequately impressed. It’s not every day you meet a bonefide author. Then you mention that you are self-published, and suddenly they all have somewhere better to be.

Self-publishing carries with it a certain stigma. In part, it may be due to a certain number of poor quality self-published books that flooded the market with the rise in popularity of the self-publishing market. With the rise of digital media, almost over night, it was no longer necessary to seek out and captivate a traditional publisher, and anyone, whether they write well or not, could become an author. In the beginning, as it is with most rising trends, self-publishing was a rather expensive proposition, and many authors didn’t have a whole lot to invest, so they skimped by on costs by skipping things like professional editing. Some maybe had their mother or their aunt or their brother give it a once over, but none of them had a trained eye. Others didn’t even do that, believing that their writing was so good, it didn’t need to be edited, or perhaps they were just out to make a buck, and didn’t really care if they put out a quality book. But, for whatever reasons, a lot of less than good quality self-published books made their way out into the market, marring the reputation of the self-publishing industry.

Companies like Amazon and Smashwords put another bump in the industry when they offered authors yet another avenue for publication with the e-book. Digital publishing was cheaper and easier than publishing print copies. In fact, it is virtually free to publish digitally, freeing up funds to be used for things like editing in order to create a quality piece of literature. Of course, there will always be those who are just in it for the money and don’t really care if the book they put out there is good quality, as long as it makes them money. They’re the types that will take advantage of the savings of digital publication to line their own pockets and still won;t bother to pay an editor. They are the authors that wouldn’t survive in the digital publishing world, but hopefullly, there are less of them now.

Despite the stigma attached to self-publishing, there are many talented self-published authors out there, who care about creating and publishing a quality literary product. Today’s interview is with self-published author, Arthur Rosch, who puts whatever time and effort is required into his books, sometimes taking years to complete them. Art is a talented writer. His publishing credits include his travel memoir, The Road has Eyes: A Relationship, An RV, and a Wild Ride through Indian Country, his literary novel, Confessions of an Honest Man, and his epic science fiction novel, The Gods of the Gift. Art shares a positive outlook on self-publishing with previously interviewed self-published authors, Tim Baker and Jeff Bowles. Here, Art shares his thoughts on the publishing industry with his very generous answers, as he candidly relates his own publishing journey.

Kaye: Would you share your own publishing story with us?

Art: I’ve been reading for pleasure since I was five.years old I remember the day I learned to read. It came like a lightning bolt. Aha! So that’s how it works! I made the connection between letters and the sounds they represented. It was my third week in kindergarten. I hated school but I loved to read books. I started by reading historical novels. The other kids were reading “Dick And Jane Go To The Farm”.

When I was fifteen I fell madly in love with a girl. She wanted certain attributes in a boyfriend. One of those requirements was that said boyfriend should be a poet. So, I began to write poetry to please my girlfriend. She turned out to be far less faithful than the process of writing. I gave up on the girl and stuck with the writing. When I was twenty five I was seized by the ambition to write a novel. The project became a science fiction novel called THE GONGS OF SPACE. It was awful. It did, however, attract the interest of literary agent Scott Meredith. I signed a two year contract, and proceeded to write more novels. None of them sold. I had plenty of imagination but lacked some fundamental skills in the craft of writing.. I also needed more life experience.

I’m old enough to remember the “old” model of publishing. I had an entree into that world of agents, editors and publishers. A short story of mine won Playboy Magazine’s Best Story Of The Year Award. I had my fifteen minutes of fame. All the doors were open.

Playboy invited me (with an expense account) to their twenty fifth anniversary party.. I came away with a pocket full of business cards from important people in the publishing industry. Unfortunately, at that time I was dabbling in drugs. That dabble turned into a roaring addiction that derailed me for twenty years. I wrote during those decades. I wrote a lot. But I was like the Hubble Telescope before it was repaired. I couldn’t focus. I had a wonderful opportunity that I wasted by making a very bad choice. This kind of blunder is the stuff of life. I admit, I screwed up. I prefer to regard that interval in my life as “experience”. It was my Dark Night Of The Soul I had lost my family, my home, my possessions and my dignity. But I learned from my suffering.

What can a writer do without insight into the human condition? What decent writer is not also an observer and a psychologist?. My addiction years were loaded with with lessons. I sank to the bottom of the social order. I was on the streets, completely mired in the human experience. I learned from the streets. I learned hard. Then I had to put myself back together.

Addiction is one of the central pillars of my life narrative. I wanted to heal myself, so I went into a long therapy and read everything I could find about family dynamics, addiction and obsession.. Some writers need to spend an apprenticeship in the realm of compulsion, irrationality, bad choices and failure. By the time I was in my mid forties I had a thorough apprenticeship under my belt.

When I surfaced from that underworld, I started looking for an agent. A whole generation of agents had come and gone. The publishing world had changed. I was now (by my own evaluation) a fine writer with a distinctive voice. Agents weren’t interested in me. I wrote hundreds of query letters. I had three novels and a memoir that were ready for editing and representation. I got rejections again and again. How many times did I read the same phrases? “Not quite right for us”, “good luck with your writing career”, “though you write well, I couldn’t quite fall in love with this project.”

It’s likely that you’ve also read these phrases.. In 2001 I wrote to the Scott Meredith Agency in an attempt to re-kindle some kind of relationship. My letter was answered by the head editor. Meredith had passed away and the agency continued under a new owner. My novel, CONFESSIONS OF AN HONEST MAN was well under way. The editor loved the manuscript and offered to work with me. I was not a client of the agency. I was a side-project. The editor, B.N. Malzberg., charged no fee, and worked with me on his own time. The guidance he provided helped to make CONFESSIONS OF AN HONEST MAN into a mature and viable novel.

Still, no agents wanted to represent me. It was an odd situation. Malzberg didn’t have the authority to bring me on board. I don’t know why. I never will. I’m grateful to Mr. Malzberg for the help he gave me in bringing that wonderful novel to fruition.

Kaye: What are your thoughts on the self-publishing industry?

Art: I spend a lot of time writing my novels. Some of my books have been in process for thirty years. THE GODS OF THE GIFT, a sci fi epic, was begun in 1978 and wasn’t completed until 2012. Nowadays the book scene is so competitive that a writer needs to have an extensive body of work. Writers are forced to view their works as Product. The more product you have, the more you can sell. I have to learn to write more quickly. My travel memoir, THE ROAD HAS EYES, was finished in a year. Now I’m writing a crime novel. In a month I’ve racked up 20,000 words. I do all my own cover designs. I hire out the formatting. I mostly self-edit but that’s not really a good idea. It’s better to join a writing group and share your work with your peers. Better still, hire a good editor.

It’s useful to identify one’s “brand” with a genre. It’s also good to write series. The reading audience loves series. My crime novel will be a series based on the characters I’ve invented. I have a fantasy trilogy in the works. Book One is complete. Book Two, the sequel, is under way. I’m not known as a genre writer. With good reason. My portfolio consists of one memoir, one literary novel, three sci fi novels and a crime novel-in-progress. I also have nearly three hundred blog posts in the form of reviews, poems and essays. My “brand recognition” doesn’t stick. Fortunately I have relationships with magazines like Across The Margin and Exquisite Corpse. ATM has published a lot of my work. I’ve also published as a photographer with magazines like

Shutterbug and Popular Photography. I had a centerfold in CAT FANCY. Our beautiful cat, Agate, was shown without her clothes. Agate didn’t care. She never wears clothes. We don’t believe in dressing up animals to look like people.

Kaye: Why did you choose to self-publish your books?

Art: Four years ago I began to explore the self-publishing world. Getting a book published is easy. Marketing the book is another matter. I’m not a good marketer. I plunged into the crazy world of podcasts, webinars and the pitches of various book marketing gurus. I was trying to get a basic grip on marketing strategies. The problem is that the parameters for marketing change so fast that it’s impossible to know how to approach the world of self-promotion.. Also, I was broke. Marketing costs money. I spent $1500 on paid-for reviews and marketing “helpers”. These investments weren’t completely useless, but they didn’t do much to boost my sales.

I would estimate that at least $5000 is required for a marketing budget. That’s just for starters. If you’re lucky, and if you have some talent, your investment will begin to show returns fairly quickly. You’re going to need a knack for business promotion. Marketing a self published book requires patience. Patience. Patience. Just don’t give up. You’re going to encounter a lot of rejection and a lot of discouragement. It goes with the profession of writing.

Kaye: How much non-writing work, (marketing & promotion, illustrations & book covers, etc…), do you do yourself for your books?

Art: The first thing I do every day is drop a Tweet about one of my books. Twitter is free. Facebook is…well, not quite free. As the world’s population increases, so do the number of writers competing for a piece of the audience pie. I’ve learned, to my dismay, that you don’t have to be a good writer to be successful. You just have to be a good story teller. Many popular writers tell the same story over and over again. They hit on a formula that works, and they milk it. I don’t have it in me, to be a lazy writer. I pour my heart and soul into everything I do. My books enjoy modest sales. My platform is almost non–existent. It will take time to develop my platform until it’s something more than a few Popsicle sticks taped together.

Most of my “writing time” is actually study time. When I write, I write. But I spend three or four hours a day studying marketing. And I’ll admit I’m confused. The major advertising venues change their parameters suddenly and arbitrarily. Facebook had an advertising algorithm that was favorable to the writer. Then they changed the algorithm. The amount of pay changed downward. Same with Amazon, same with Google. It’s like writing in an earthquake. The ground shifts under our feet. But that’s life, isn’t it? The ground always shifts under our feet. The one thing you can count on is CHANGE.

Kaye: Would you recommend self-publishing to aspiring authors?

Art: Traditional publishing now resembles self-publishing so much that it’s difficult to pry them apart. If you sign a contract with a big house you’re still going to have to do your own marketing. If you’re a major name, that’s different. Steven King doesn’t do his own marketing. But Arthur Rosch will indeed have to market, whether he’s self published or under contract to Random House. So…why not self publish? Statistics reveal that self publishing is garnering an ever-increasing market share. There’s no longer a stigma attached to self publishing.

Don’t give up. Persist. Stay with what you love, and if you love writing, then, you must write. Right?

You can visit my book website at roschbooks.com. My e-books are $2.99. I signed up for the Amazon KDP promotion but I haven’t seen any benefit. Next step will be to publish real paperback books. I recommend self-publishing for the simple reason that many of us have no choice. It’s so difficult to hook an agent these days that you might as well fish for salmon in the local park’s swimming pool.

I want to thank Art for sharing his story with us. Be sure and check in next week on Writing to be Read, when I’ll talk with traditionally published children’s author, Stacia Deutsch and get her views on the publishing industry.

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