I started this blog post today after pondering the sentiment many people have that “your days are numbered, agent. Why should I get a publisher or pay you 15% anyway when I can just put it up online myself and get a 70% royalty?!”
I wanted to show that no, really, agents are pretty much awesome. I mean, you can just read this and know that right?
Research commenced. I found out exactly how to self-pub:
“With Kindle Direct Publishing (KDP) you can self-publish your books on the Amazon Kindle Store. It's free, fast, and easy. Books self-published through KDP can participate in the 70% royalty program and are available for purchase on Kindle devices and Kindle apps for iPad, iPhone, iPod touch, PC, Mac, Blackberry, and Android-based devices. With KDP, you can self-publish books in English, German, French, Spanish, Portuguese, and Italian and specify pricing in US Dollars and Pounds Sterling.” -Amazon.com
Sweet.
You just have to price your book between $2.99 and $9.99 to get that 70%; otherwise, you get 35%, which is the rate you will generally get (if not better) from a traditional indie pub.
If you want to be available on more than just the Kindle, you'll need to put your book onto a site like Smashwords.
Awesome. Know thy enemy and all that.
Then came the time to throw the wrench into this eeevil plan.
USA Today writes: “This January [Amanda Hocking] sold more than 450,000 copies of her nine titles…. Novelist J.A. Konrath…has sold more than 100,000 self-published e-books.”
Wait, what?
"The Beanie Baby Handbook by Lee and Sue Fox sold three million copies in two years and made #2 on the New York Time Bestseller list." -Groundbreaking.com
And on and on and on. There's even a self-published book on self-published hall-of-famers!
Boy. Self-publishing ebooks sure doesn’t sound so bad, does it? Sounds pretty lucrative, actually.
The biggest decision you seem to have to make is whether or not to protect your ebook with Digital Rights Management(which, by the way, isn't a clear option you have to do anyway, so it's probably not even something you would think about).
So what can I really say against it?
Nothing. Except that I would never do it.
At the end of the day, self-publishing is incredibly tempting: I have several unpublished manuscripts lying around. I have over 2,000 twitter followers. I’m sure if I priced the sucker at $.99 people would pay to see just what this agent’s got. So why the heck not?
Well. I suppose because there’s no guarantee. Yes, it could be some easy, quick cash; but that’s not the point of publishing, is it? Even Amanda Hocking ended up with a traditional publisher.
Why?
Part of it, I think, is because to make it in self-publishing, you have to constantly promote yourself. You become a business, and any business needs full dedication in order to succeed and grow. Sure, if you make enough money you can hire a promotional team, but you will constantly have to keep proving yourself, constantly have to be everywhere.
But most of it? The big, glaring elephant in the room that is why most writers are afraid (yeah, I said it) of self-publishing?
Because that means that you’re saying you’re good enough.
You’re saying you don’t need anyone else to tell you you belong on bookshelves; you don’t need a deadline or an editorial team backing your every word.
But like I said – there’s no guarantee. There’s no guarantee that even if you take the risk, decide you don’t need anyone else behind you but you, that you will succeed.
The USA Today article mentioned four authors doing the impossible. PublishAmerica boasts over 50,000 authors. Lulu boasts nearly 20,000 titles a month.
Hmm. Ok. Lulu's official stats claim 1.1 million authors, so...4...out of 1,150,000 is...well, ok, let's throw in the ones from the recent Groundbreaking.com list, too, just to be fair, so...37 (heck, let's do 38) out of 1,150,000 is .000033%.
I’ve already spoken to the dangers of self-publishing if you don’t succeed; and honestly, though I love me a Cinderalla story and love me easy cash…I really, really don’t have the time, energy, or confidence, to take this risk.
So while I agree whole-heartedly that self-publishing is very tempting, and can be very lucrative if done well, and if done right, as an agent, it holds about the same pull to me as the million-dollar-jackpot.
Only this isn’t a dollar I'm gambling. It’s my career.
Adventures in Agentland
The Blog
Showing posts with label self-publish. Show all posts
Showing posts with label self-publish. Show all posts
Thursday, April 14, 2011
Sunday, November 7, 2010
An Agent's Take on Some Common Writers' Frustrations
There are an incredible number of resources for writers. Googling alone will show that. Regardless, there are a few concerns I’ve seen popping up over and over again:
The Synopsis
The Book Genre
Rejection
Self-Publishing
Book or Manuscript?
Some of my favorite resources to start with:
-Jeff Herman’s Guide to Book Editors, Publishers, and Literary Agents
-The Elements of Style by Strunk and White
- www.Absolutewrite.com
In terms of the synopsis, it should never be over two pages long, single spaced. The biggest reason agents request this is to see where the plot is going. It’s not considered a sample of your writing; it’s considered a sample of your plotting ability. Can you describe your plot in two pages? Will the book hold together? In other words, don’t stress so much about how it’s written; worry about whether or not it shows the true nature of your book (and includes the ending!). When I turn to a synopsis, it means that I liked the sample of writing (my personal preference is to see if the book hooks me first, and then turn to the synopsis), and I want to make sure the plot isn’t going to suddenly go from chick lit to time-traveling alternate-history paranormal suspense; I want to see what I’d be getting into if I requested more. That’s it.
And regardless of what an author may think, I’m not going to throw away a submission if it’s been called a paranormal suspense and it’s really a romantic paranormal suspense. My job, as an agent, is to know which editor to send this to; an author’s job is to know which agent to send it to. If you can get the basic elements of your novel into a sentence (i.e., it’s an historical novel with supernatural mystery elements), that’s all you should need to find an agent to submit to (look for someone who works with supernatural, or mystery, and, if historical, if they have anything remotely similar to what your book is about on their list). And in fact, many agents blend genres; they don’t have to pigeon-hole themselves in quite the same way that editors do.
There are many sites that give a basic breakdown of genre; here are some of the more confusing ones:
-Commercial – it’s written to appeal to as broad an audience as possible
-Literary – Character-driven. The plot is secondary to the development of the characters; it is more about how it is written, the art of writing, than plot
-Mainstream – genre or literary fiction that sells well. (Like Stephen King – he’s technically genre, but sells to readers outside of that genre as well; his books have the ability to attract readers who wouldn’t normally read horror)
-Genre Fiction – more emphasis on plot than on fine writing and character development, appeals to fans of the genre but not to a wider audience (romance, thriller, etc)
-Upmarket – a combination of commercial and literary; can appeal to both audiences
-Mass-Market – the smallest paperback, what genre fiction is usually published in (romances, mysteries, thrillers)
-Trade Paper – the 15.00 paperback
And of course, if all else fails, you can always search on Amazon for a book you think is similar to yours, and see how they classify it.
Even if you do get your manuscript into the hands of the perfect agent, it’s not a guarantee of representation. Agents have to have passion and enthusiasm for a project in order to sell it. Rejection IS NOT PERSONAL; it’s business. I’ve rejected many manuscripts I thought were wonderful, but just didn’t “click” with me. It’s so incredibly subjective; the best advice is to take what you can from a rejection, and move on. Always think of the WHY, not the WHAT. Meaning, don’t focus on the rejection; focus on WHY it was rejected. Did you query the wrong agent? Do you need to work more on characterization? There’s always a reason someone reacts the way they do; try and focus on that reason instead of the reaction. It’ll help to gain constructive feedback from even the word “no.”
In the end, it may just be that self-publishing is a route for you. Here’s how you know: if your book is so regional or so niche that it won’t appeal to a wider audience. Or: you’ve written a non-fiction book and will use the self-published version to build a platform of 1,000 books a month for 12 months, proving there’s an audience for your book.
For fiction, self-publishing is usually not the best option; in most cases, it will serve as a handicap. Because even if you sell 5,000 copies of that fiction novel out of the back of your car…those are dismal numbers to any book buyer. Once you self-pub, you get an ISBN; publishers and book buyers WILL use that ISBN to look up sales numbers. And since self-published books are never sold in chains, where most of the numbers come from (BookScan)…it’s going to look even more dismal. Publishers will pay money for a book equal to the amount of copies they can expect book sellers to buy. If book sellers are seeing no demand for a book…they won’t buy. Period. But if you just want a few copies to share with loved ones, by all means, self-pub away.
A book is a book is a book. Yes, technically, it’s still a manuscript until it’s published; but in my opinion, if you write a book, it’s a book; a publishing contract only means someone wants to pay money to promote it widely, because they think they’ll make money on it. So don’t try and sell yourself short; even Webster’s says: “a written OR printed work of fiction or nonfiction.”
The Synopsis
The Book Genre
Rejection
Self-Publishing
Book or Manuscript?
Some of my favorite resources to start with:
-Jeff Herman’s Guide to Book Editors, Publishers, and Literary Agents
-The Elements of Style by Strunk and White
- www.Absolutewrite.com
In terms of the synopsis, it should never be over two pages long, single spaced. The biggest reason agents request this is to see where the plot is going. It’s not considered a sample of your writing; it’s considered a sample of your plotting ability. Can you describe your plot in two pages? Will the book hold together? In other words, don’t stress so much about how it’s written; worry about whether or not it shows the true nature of your book (and includes the ending!). When I turn to a synopsis, it means that I liked the sample of writing (my personal preference is to see if the book hooks me first, and then turn to the synopsis), and I want to make sure the plot isn’t going to suddenly go from chick lit to time-traveling alternate-history paranormal suspense; I want to see what I’d be getting into if I requested more. That’s it.
And regardless of what an author may think, I’m not going to throw away a submission if it’s been called a paranormal suspense and it’s really a romantic paranormal suspense. My job, as an agent, is to know which editor to send this to; an author’s job is to know which agent to send it to. If you can get the basic elements of your novel into a sentence (i.e., it’s an historical novel with supernatural mystery elements), that’s all you should need to find an agent to submit to (look for someone who works with supernatural, or mystery, and, if historical, if they have anything remotely similar to what your book is about on their list). And in fact, many agents blend genres; they don’t have to pigeon-hole themselves in quite the same way that editors do.
There are many sites that give a basic breakdown of genre; here are some of the more confusing ones:
-Commercial – it’s written to appeal to as broad an audience as possible
-Literary – Character-driven. The plot is secondary to the development of the characters; it is more about how it is written, the art of writing, than plot
-Mainstream – genre or literary fiction that sells well. (Like Stephen King – he’s technically genre, but sells to readers outside of that genre as well; his books have the ability to attract readers who wouldn’t normally read horror)
-Genre Fiction – more emphasis on plot than on fine writing and character development, appeals to fans of the genre but not to a wider audience (romance, thriller, etc)
-Upmarket – a combination of commercial and literary; can appeal to both audiences
-Mass-Market – the smallest paperback, what genre fiction is usually published in (romances, mysteries, thrillers)
-Trade Paper – the 15.00 paperback
And of course, if all else fails, you can always search on Amazon for a book you think is similar to yours, and see how they classify it.
Even if you do get your manuscript into the hands of the perfect agent, it’s not a guarantee of representation. Agents have to have passion and enthusiasm for a project in order to sell it. Rejection IS NOT PERSONAL; it’s business. I’ve rejected many manuscripts I thought were wonderful, but just didn’t “click” with me. It’s so incredibly subjective; the best advice is to take what you can from a rejection, and move on. Always think of the WHY, not the WHAT. Meaning, don’t focus on the rejection; focus on WHY it was rejected. Did you query the wrong agent? Do you need to work more on characterization? There’s always a reason someone reacts the way they do; try and focus on that reason instead of the reaction. It’ll help to gain constructive feedback from even the word “no.”
In the end, it may just be that self-publishing is a route for you. Here’s how you know: if your book is so regional or so niche that it won’t appeal to a wider audience. Or: you’ve written a non-fiction book and will use the self-published version to build a platform of 1,000 books a month for 12 months, proving there’s an audience for your book.
For fiction, self-publishing is usually not the best option; in most cases, it will serve as a handicap. Because even if you sell 5,000 copies of that fiction novel out of the back of your car…those are dismal numbers to any book buyer. Once you self-pub, you get an ISBN; publishers and book buyers WILL use that ISBN to look up sales numbers. And since self-published books are never sold in chains, where most of the numbers come from (BookScan)…it’s going to look even more dismal. Publishers will pay money for a book equal to the amount of copies they can expect book sellers to buy. If book sellers are seeing no demand for a book…they won’t buy. Period. But if you just want a few copies to share with loved ones, by all means, self-pub away.
A book is a book is a book. Yes, technically, it’s still a manuscript until it’s published; but in my opinion, if you write a book, it’s a book; a publishing contract only means someone wants to pay money to promote it widely, because they think they’ll make money on it. So don’t try and sell yourself short; even Webster’s says: “a written OR printed work of fiction or nonfiction.”
Monday, October 25, 2010
What You Need to Consider BEFORE you SELF-Publish
I was going to write up a big, fancy post on this topic, and then I found this site, which pretty much said everything I wanted to.
Ok I lied. I wrote up a big, fancy post anyway. ;)
You'll notice a LOT of references here -- and that's because there are a LOT of different things to consider about self-publishing. No one agent is going to be right about it (meaning, disclaimer: I do NOT claim to have the answer to or know everything about it!). Generally, it's a case-by-case basis whether or not someone should self-publish, and whether or not a self-published book can be picked up by an agent or bigger house.
But, some things to think about:
Why Agents are Cautious of Representing Them
Because it is a tough sell. A self-published author can no longer be listed as a debut author, which means that a publisher is going to have to base the advance they can offer (if any) on the author’s sales history. A publisher offers an advance based on a projection of how many copies they can expect to sell – and if the self-published book sold only 500 copies…
Why Publishers are Cautious of Acquiring Them
It’s all about numbers. The number of copies the self-published book sold, and the number of copies bookstores can expect to sell. Guess what? The latter is based on the former. What this means is that if your book sold 500 copies, bookstores aren’t going to expect large sales. Which means they won’t want to stock the book. Which means the publisher won’t make sales. Which means they won’t recoup their advance, or even enough to pay overhead for the aquiring editor’s time spent on that book.
So what if you self-publish and sell 10,000 copies? Awesome. Just keep the statistics in mind.
Why Reviewers are Cautious of Reviewing Them
There’s no indication of quality with a self-published book. A book that has gone through the traditional publishing route has made it’s way past an agent, an editor, an ed board, and a copyeditor (in the simplest example) before it reaches the reviewer’s hands. A self-published book never made it past an agent. With so many books to choose from…yeah, they’re going to review the ones they can expect will at least be free of typos.
Why Publicists are Cautious of Publicizing Them
It’s hard enough to publicize fiction from a traditional publisher. Fiction is so subjective; imagine saying to someone: read this. Why? Because I like it. Just trust me. If that book is self-published, that trust level goes way down, again, because you have no idea of the quality. A publicist is hired to promote a book – so just hearing “it’s good” from one isn’t enough to make reviewers or buyers trust that it is.
However, this IS different for non-fiction. Read more here.
Lastly, READ THIS POST by Nathan Bransford.
Finally, please keep in mind: if you self-publish, YOU ARE THE PUBLISHER. Period.
I think it’s incredibly arrogant to self-publish your book and then expect someone else to pick it up and do all the work for you. Simon and Schuster doesn’t acquire a book, design a pretty cover, send it to a few buddies, and then submit it to Random House to get sales. If you don’t think you can get the distribution and sales you want from self-publishing…it’s probably not the best option for you.
Ok I lied. I wrote up a big, fancy post anyway. ;)
You'll notice a LOT of references here -- and that's because there are a LOT of different things to consider about self-publishing. No one agent is going to be right about it (meaning, disclaimer: I do NOT claim to have the answer to or know everything about it!). Generally, it's a case-by-case basis whether or not someone should self-publish, and whether or not a self-published book can be picked up by an agent or bigger house.
But, some things to think about:
Why Agents are Cautious of Representing Them
Because it is a tough sell. A self-published author can no longer be listed as a debut author, which means that a publisher is going to have to base the advance they can offer (if any) on the author’s sales history. A publisher offers an advance based on a projection of how many copies they can expect to sell – and if the self-published book sold only 500 copies…
Why Publishers are Cautious of Acquiring Them
It’s all about numbers. The number of copies the self-published book sold, and the number of copies bookstores can expect to sell. Guess what? The latter is based on the former. What this means is that if your book sold 500 copies, bookstores aren’t going to expect large sales. Which means they won’t want to stock the book. Which means the publisher won’t make sales. Which means they won’t recoup their advance, or even enough to pay overhead for the aquiring editor’s time spent on that book.
So what if you self-publish and sell 10,000 copies? Awesome. Just keep the statistics in mind.
Why Reviewers are Cautious of Reviewing Them
There’s no indication of quality with a self-published book. A book that has gone through the traditional publishing route has made it’s way past an agent, an editor, an ed board, and a copyeditor (in the simplest example) before it reaches the reviewer’s hands. A self-published book never made it past an agent. With so many books to choose from…yeah, they’re going to review the ones they can expect will at least be free of typos.
Why Publicists are Cautious of Publicizing Them
It’s hard enough to publicize fiction from a traditional publisher. Fiction is so subjective; imagine saying to someone: read this. Why? Because I like it. Just trust me. If that book is self-published, that trust level goes way down, again, because you have no idea of the quality. A publicist is hired to promote a book – so just hearing “it’s good” from one isn’t enough to make reviewers or buyers trust that it is.
However, this IS different for non-fiction. Read more here.
Lastly, READ THIS POST by Nathan Bransford.
Finally, please keep in mind: if you self-publish, YOU ARE THE PUBLISHER. Period.
I think it’s incredibly arrogant to self-publish your book and then expect someone else to pick it up and do all the work for you. Simon and Schuster doesn’t acquire a book, design a pretty cover, send it to a few buddies, and then submit it to Random House to get sales. If you don’t think you can get the distribution and sales you want from self-publishing…it’s probably not the best option for you.
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