What Stace had to say on Monday, September 21st, 2009
If self-publishing is the future, it’s bleak indeed

First, a couple of quick things:

1. “The Mammoth Book of Vampire Romance 2” has been released, containing stories by myself, Jeanne Stein, Jaye Wells, Caitlin Kittredge, Tiffany Trent, and Ann Aguirre. My story, titled “Trust Me,” is–I think–kind of a fun little yarn about Jack the Ripper, and is officially the Last Erotic Romance story I wrote (for now). So while I did tone it down a bit for the antho, expect lots of sexxoring.

Shorts are difficult for me, in general; I have a hard time keeping myself from expanding and expanding and introducing subplots. But this was a story that really didn’t leave a lot of room for a novel, and the idea had appealed to me for some time (as with all mystery buffs and goulish people, I am fascinated by the Ripper), so when I had the opportunity to submit it for the antho I jumped at it. So rush on out and get it; my story is probably the weakest of the bunch, given the other names involved, but I think it’s kind of a sweet little tale nonetheless.

2. Kari Stewart, my agent-mate and author of A DEVIL IN THE DETAILS, coming next summer from Roc, has written a great little series on writing series novels on her blog. You have to scroll down a few entires, but it’s well worth it.

3. Charlaine Harris did an interview at Voice America’s “Mystery Matters” show on Friday, and guess who she mentioned as one of her favorite secondary characters ever, right around the fifty-four minute mark? Terrible, my big bad greaser from UNHOLY GHOSTS. Check it out!

Now. To the point of the post. (Yes, I seem to be on a bit of a self-publishing kick. I promise I have not forgotten the Critique series. I’m just busy as heck these days and going through some other things I won’t bore you with.)

Here’s the thing. I am not against self-publishing. Absolutely, honestly, 100% not. I think it can be very useful. I think that if you’re a writer who focuses on a specific niche area of nonfiction, for example, self-publishing can be fantastic for you. So this is not a rant against self-publishing per se.

What it *is* a rant against–or rather, a cautionary post about–is the idea so many self-published or vanity-published authors seem to put forth that this is the Wave of the Future, and that said future will be so much brighter without those nasty old philistines at major houses churning out crap week after week.

Um. First of all, yes, as a writer with series at two NY houses and one UK house, I’d rather not be told my work is obviously crap because it’s being published by people who actually have the insensitivity to art to think they can make money from it (and in return have paid me for it.)

But this isn’t about me (except where it really is, which I’ll get to in a minute). This is about lots and lots of other writers, who’ve worked very hard and deserve to earn money for their work. I might add, this is also about book piracy, which a lot of those who engage in seem to feel is their way of Bringing Down the Man and Smashing the State and Standing Up For The Little Guy.

Because, sure. It will be a much, much better word when publishing is only an option to those who can afford it. Don’t you agree? Aren’t you glad these Caretakers of Art are decreeing that things will be better when nobody gets paid for their work, that they will in fact have to pay someone else to publish it, that they will have to handle cover design, marketing, and promotion all by themselves?

Yes, sure, every author is expected to do some promo, even at the big houses. But we’re not alone in it. We’re not making meetings with book buyers at stores trying to convince them to buy our books; our publisher’s sales staffs take care of that. Even when PERSONAL DEMONS was originally released by Juno/Wildside, a small press, they took out ads in Romantic Times and made sure the book got reviews. Yes, I have some promo plans on my own for my books. Yes, I carry out what I can. But I do the suff that’s fun. I blog. I Twitter. I play on Facebook when time allows. I don’t carry copies of my book hoping to sell them to random strangers. I don’t slip cards with my title and cover into my utility bills when I pay them in hopes someone will see it and give the book a chance. I don’t have to invest a dime of my own money if I don’t want to. I have, yes, but the only reason I can afford to do so is because I was paid an advance for my work.

Frankly, if I’d had to pay to be published, I wouldn’t be published. I couldn’t afford it. Nor could most professional writers I know, very few of whom could manage to scrape together $5k to pay a publisher.

So what would we have, in a world where those Evil NY Houses have fallen?

We’d have books written exclusively by those who could afford it. Much like in the 18th century, when so many books were diaries of some peeress’s trip through Europe with titles like, “My Gleanings.” FUN. I know I can’t wait to read books written exclusively by the wealthy, with no viewpoints other than their own. I’m sick of hearing what baby boomers think already; I can assure you I don’t want to read more of their “Gee, the sixties were sooo great!” back-patting. I know I can’t wait for a world where books written by those from other cultures have no chance to be translated into English and released here, when we become even more ignorant of the lives of those in the world outside because there’s no way to get their books in front of English-speaking audiences. Oh, and of course, given that self-published books tend to be much more expensive, thanks to POD technology, I can’t wait for a world when reading and books are even less available to the poor. When they don’t have the same opportunities thanks to their inability to get hold of books.

Oh, what’s that you say? Oh, right. The internet will provide all of that. Of course. Because I know when I want something to read I’d much rather spend hours and hours slogging around online looking for something decent than just go to a bookstore. I know people who can’t afford books totally have the money for laptops and ereaders and the internet. So in seeking to democratize literature, what you are actually doing is STEALING IT from those less fortunate than you.

We’d also have a lot more unreadable books. I’m sorry, but it’s true. For every excellent work of self-published fiction–and they are out there, make no mistake–and for every one that’s not bad, just not terribly polished or professional or interesting, there are dozens of horrible ones. Not horrible the way so many of you like to put down NY books which aren’t to your taste, but awful. Really.

Let’s not forget that the way most people learn proper grammar, punctuation, and spelling isn’t through school. I mean, we do learn those things at school, but we develop those skills by reading. So you tell me, how literate will we be as a society when there are no professionally written books? When there are no people to judge if a work is even readable or not before it gets published? When anything goes? Would you like to go back to the middle ages, when words were just spelled however they sounded? Because I wouldn’t.

But this is it. With no publishing houses, there are no gatekeepers. Without publishing houses, bookstores–not just the big conglomerate ones, but the independents–will fail. There will be no way to check a book out before you buy it. No libraries, which are already in trouble. Writers with talent will be forced to suck up to reach people in hopes of their financing the writer’s latest books. I know I look forward to the day where I have to go out hunting for a sugar daddy so I can keep publishing, and hope he lets me write what I want and not simply odes to himself.

Maybe I’ll be lucky, though. Maybe that sugar daddy will simply love my work, and will publish it. Maybe he’ll grease the right wheels so my book can be sold through some outlet. Maybe he’ll pay someone to help me polish it; not change it, but polish it, catch the things I didn’t catch. Maybe I’ll be really lucky, and he’ll even pay me a share of the book’s earnings.

In short, maybe he’ll set up a publishing company.

Bringing Down The Man or claiming the world will be so much better when the NY houses are no longer around is a fallacy. You’re hurting yourself, you’re hurting all writers, you’re hurting people whose only education comes from the books they find and read themselves, you’re hurting people who depend on those industries to put food on the table, you’re hurting artists in other countries, you’re hurting everyone with a story to tell. You’re making literacy a hobby for the rich.

Wow. That’s something to be proud of.

18 comments to “If self-publishing is the future, it’s bleak indeed”

  1. Michele Lee
    · September 21st, 2009 at 5:36 pm · Link

    Excellent, excellent points.

  2. synde
    · September 21st, 2009 at 6:19 pm · Link

    Most excellent post..very thoughtful and thought provoking.. :smile:

  3. kirsten saell
    · September 21st, 2009 at 7:41 pm · Link

    Yup. I’ve read the occasional blog comment by one of these “self-publishing is the utopian future of books” people and half the time you can’t even understand what the eff they’re saying. Way to prove the opposition’s point, dudes.

    Some utopia for readers–sifting through the slushpile, 90% of which is incomprehensible garbage, seeking that one shining gem among the 10% of works penned by authors who can craft a coherent sentence. Oh, and who can’t afford to write/publish more than one book every couple of years because, hello? Day job.

    Now I’m off to go insist the Guggenheim give my 7-year-old son’s etchings and that drawing I did of my feet when I was twenty equal wall space with Kandinski and Van Gogh. Death to the gatekeepers!!

  4. Cora
    · September 21st, 2009 at 8:12 pm · Link

    The Mammoth Book of Vampire Romance 2 has only been today? Because I’ve had my copy for about two weeks now. Talking of which, I enjoyed your story very much.

    As for the rest of your post, I completely agree.

  5. Tyhitia
    · September 21st, 2009 at 8:12 pm · Link

    Whoa. All excellent points indeed. Some people have no clue.

    Congratulations on the comment by Ms. Harris. Did she read an ARC of UNHOLY GHOSTS? Cool. 😀

  6. Michael N. Marcus
    · September 22nd, 2009 at 6:38 am · Link

    You said, >>Frankly, if I’d had to pay to be published, I wouldn’t be published. I couldn’t afford it. Nor could most professional writers I know, very few of whom could manage to scrape together $5k to pay a publisher.<<

    Self-publishing (with a professional cover designer and editor) can be done for $600 – $1,000. I've done it five times.

    Michael N. Marcus
    author of "Become a Real Self-Publisher" — due soon

    • Janet Hardy
      · November 30th, 2009 at 11:29 am · Link

      Yes, to what Michael Marcus said — and that’s the cost of the first book; by the time you’ve paid for a few necessary pieces of software, the price drops even further.

      I started as a self-publisher back in 1992. The company began to grow when we accepted a book by an author that wasn’t my then-partner or me, and now has forty or fifty books in print and is my full-time occupation — but if I had it to do over again, I might very well have stuck to self-publishing. Because the big thing about self-publishing is that YOU GET TO KEEP ALL THE MONEY, instead of being sent 10% of it every six months (if you’re lucky). Yes, there’s some initial outlay, although if you’re willing to learn basic layout and production it doesn’t have to be anything like $5,000 — but then, if you’ve written a good book and marketed it intelligently, there’s a lot more profit than you’d ever make on a conventionally published book.

      Janet Hardy
      Greenery Press

      • Stace
        · November 30th, 2009 at 1:25 pm · Link

        First, thanks to both of you for your information about costs.

        Second, I’m genuinely curious about something, and I hope in asking the question I don’t sound snippy. But if self-publishing is so profitable, why do those few people who find success through it skip to commercial publishers as soon as they’re offered the chance? I’m really interested in your thoughts on it; I don’t mean to be disrespectful.

        The thing is, yes, self-publishing is a legitimate business/opportunity. It’s certainly far superior to vanity publishing, where authors pay huge amounts upfront and get only a small portion of the profits.

        But I do have to disagree that you can make a lot more money doing it than you can by selling your rights to a commercial house. I didn’t have to learn any layout or design, or pay any cash for equipment (save my computer, which I owned anyway). They did all of that for me, in addition to editing, distribution, marketing, etc., and they paid me an advance, and I get royalties. I’d imagine marketing and sales are at least something of an outlay for self-published writers.

        Are my royalties only a percentage of the profits? Sure. But the publisher took all of the financial risk and paid for everything, including the right to publish my book. I don’t begrudge them some profit as well.

        I’m not saying any of this to put down self-publishing. That’s not my intention. Just that I know how much money I’ve made so far on the Downside series, for example, and it’s not even out yet. I have a hard time believing that I could have made anywhere near that amount had I self-published. Same with the Demons books; the first book was issued by a small press, but it still sold better than the lowest figures I’ve seen for commercial presses, and over 500 times the numbers of the average self-published book.

        I may not get to keep all of the profits, but I have access to way more readers. To me it evens out. I recognize you may not agree, and thank you for your comment, and hope you don’t feel I’m trying to put you down; I genuinely admire the success you’ve made and think it’s great. I just can’t see self-publishing as the best deal for writers, at least not in most cases.

      • Janet Hardy
        · November 30th, 2009 at 1:31 pm · Link

        Hi Stace —

        I think self-published authors skip to commercial publishing partly for ego/status reasons, and partly because the *possible* payoff is a lot higher.

        My coauthor and I sold the second edition of our book “The Ethical Slut” to a commercial publisher. It’s too early to tell for sure yet, but as far as I can see so far, we will make less money on it there than we would have if we’d simply let the first edition go on selling, and quite a bit less money than we’d have made if I’d gone ahead and self-published the second edition.

        I’m not sure how all these numbers play out for fiction writers. My books are (so far) all nonfiction how-to books in a definable niche market, which is exactly the formula for successful self-publishing. And even then, getting the books out there in the world has been a full-time-plus job — for many years I was on the road at least one week per month, doing speaking engagements and so on.

        On the other hand, this publishing business has supported me for nearly two decades now, and I know very few commercially published authors who can say the same.


      • Stace
        · November 30th, 2009 at 4:15 pm · Link

        See, and you’ve hit on the very heart of my argument/opinion, there. Self-publishing fiction is a very different animal from self-pubbing nonfiction.

        I believe for non-fiction, self-publishing can be an excellent option. In fact, I did a blog series here the summer before last called “Be A Sex-Writing Strumpet;” twenty-six posts, detailing everything I know about writing good sex scenes. It’s here on the blog for free, of course, but I’ve been planning for some time to turn it into a PDF and offer it as a free or low-cost download, perhaps with a little expansion. (I could give it to my agent, and have him submit it, but given that I don’t have a huge name in erotic writing and given that the advances for books of that nature are probably fairly low, AND we’re talking about selling reprint rights and not first rights, it probably wouldn’t earn me much. It probably won’t earn me much self-published either, but I didn’t do it for money anyway, though it would be nice if it bought me dinner or something. I digress.)

        My point is, non-fiction has a built-in audience/platform. (I talked about this in rather more detail in a previous blog post on this topic.) Self-publishing non-fiction can work very well; as you said, you’ve been operating in exactly the right way to be successful at self-publishing.

        But for fiction, it’s a totally different thing. The way people shop for books is different, the things they look for are different, and it’s much, much harder to be noticed or successful, especially when self-published books (paperbacks) tend to be so much more expensive than mass market.

        Again, congratulations on all your success, and thanks for commenting!

  7. Jane Smith
    · November 20th, 2009 at 7:43 am · Link

    Stacia, this is a fantastic piece and I hope more writers read it. To that end, I’d like to put an extract of it on my blog next week, and link back to this–I hope that’s ok with you.

  8. gever tulley
    · November 29th, 2009 at 1:39 am · Link

    Take away the publishers, reduce the cost of “publishing” to $0 (print-on-demand, e-books), and you have the makings of the YouTube of books. Search engines and communities of readers become the “gatekeepers” ensuring that approximately the same number of authors bubble to the top and the rest are doomed to the long, thin, tail of obscurity. Except that instead of their manuscripts collecting dust in the slush pile, their works remain accessible – findable, enjoyable even – when the context is right.

    You presuppose a moneyed gentry flooding booksellers with self-aggrandized travelogues, but when you lower the cost of entry that problem goes away. Replace the gatekeepers with social filtering, the editors with ad-hoc writers communities supported by social networking sites, and you have a fertile and supportive system that promotes the work of gifted writers independent of financial status.

    To suggest that because a mother/writer in Cleveland is “STEALING” from you when she self-publishes is a clever bit of syllogistic logic that only serves to put the discussion on an us/them basis. Accept that the model is changing, participate in the change as you see fit, but don’t stand back in the arms of your publishing houses and throw stones while people explore the possibilities of an emerging market. Trying to hold onto the old publishing system will soon appear as foolish as defending telephone monopolies and complaining about DVDs putting theaters out of business. Change happens, the very notion of a book is changing, shouldn’t the publishing industry change as well?

    • Stace
      · November 29th, 2009 at 5:15 pm · Link

      Take away the publishers, reduce the cost of “publishing” to $0 (print-on-demand, e-books), and you have the makings of the YouTube of books.

      How exactly do you reduce the cost of publishing to $0? POD books cost money to produce. So do ebooks. So do editors, cover art, and layout people. Even if you do it yourself you’re costing yourself time, not to mention the large number of us who do not have talent in the visual arts, for example.

      Not to mention that you are, again, assuming that everyone has access to the internet, which is not the case for quite a few lower-income people, or, say the visually impaired. Perhaps you don’t care about everyone having access to books, but I do; it’s a large part of the point of this post. (We won’t even get into the fact that the majority of readers do not want to spend hours and hours acting as gatekeepers, messing about with various social media platforms in order to hunt for books, and/or sifting through thousands of books online to find the decent ones; they want to go to a bookstore, where they know they can find quality books, or buy books based on reviews, and most reviewers do not review self-published books because there are too many of them and–I’m quoting–the books are not generally good enough to interest them.)

      You presuppose a moneyed gentry flooding booksellers with self-aggrandized travelogues, but when you lower the cost of entry that problem goes away. Replace the gatekeepers with social filtering, the editors with ad-hoc writers communities supported by social networking sites, and you have a fertile and supportive system that promotes the work of gifted writers independent of financial status.

      Except that even if the “cost of entry” were free, human nature is what it is. There will still be wealthy people spending money on advertising and marketing, or on making their books look better, and less-wealthy people trying to get the money for same, and other people trying to make money. I get enough email spam from people trying to get me to buy their books; I’d rather not get it from every author out there, or be accosted in every forum I go to about buying people’s books, and I really don’t want to have to engage in those behaviors myself because there are no marketing and sales departments at major publishers anymore.

      To suggest that because a mother/writer in Cleveland is “STEALING” from you when she self-publishes is a clever bit of syllogistic logic that only serves to put the discussion on an us/them basis.

      That isn’t remotely what I said or even suggested. Nor do I believe I’ve made any comments at all relating to “us vs. Them” or implying I see things that way.

      Accept that the model is changing, participate in the change as you see fit, but don’t stand back in the arms of your publishing houses and throw stones while people explore the possibilities of an emerging market.

      Sorry, what stones did I throw, and at whom? I stated my opinion, based on what I know, of what may happen if all publishers are eliminated. That’s hardly cowering in the arms of my publishers and calling people names.

      Trying to hold onto the old publishing system will soon appear as foolish as defending telephone monopolies and complaining about DVDs putting theaters out of business.

      That’s your opinion. I don’t agree.

      Change happens, the very notion of a book is changing, shouldn’t the publishing industry change as well?

      I don’t believe the “very notion of a book” is changing either, and I do believe the publishing industry is changing.

      • Morris Rosenthal
        · December 1st, 2009 at 9:40 am · Link


        Somebody pointed me to your blog, interesting post. I’ve written over 450 blog posts about self publishing since 2005, but I stay away from writing about fiction since I never made a living at it.

        The fiction/nonfiction divide is pretty stark, but you did ask about zero cost publishing so I’ll give you a couple examples. If you’re willing to forgo any chance at bricks-and-mortar store stocking, which most self publishers do forgo whether they realize it or not, the best option today is Amazon’s CreateSpace. Gets the books on Amazon, obviously, and doesn’t cost anything beyond a FedX charge for the proof copy – it’s a profit sharing deal. Since I have my own publishing business, I don’t use them myself, I go through Lightning Source for better distribution and discount options. The cost of doing business with Lightning Source is also basically zero, though you have to own your own ISBN block (a few hundred dollar or more depending on how many number you buy from Bowker), and there are aruond $100 in setup and proof charges for small publishers. BTW, as you point out, your books were promoted to stores. There’s no conspiracy to keep POD books out of stores, I had pretty wide B&N stocking for one of my titles for a while, but it takes either a strong sales effort or a lot of walk-in demand for the books.

        On the eBook side, all of the major retailers allow you to sign up for free to sell eBooks on a profit sharing basis, but I prefer to sell direct off my website, using an outfit called e-junkie ($5/month) to handle the downloads and PayPal to handle the credit cards. That way, I net 90% to 95% on each sale. It’s not a huge business, but it’s well over $1,000/month.

        As a nonfiction author who wrote a series of books for McGraw-Hill which were bestsellers by how-to standards (over 100,000 copies), I chose to return to self publishing because the I prefer being my own boss, and the money is better. Control is a major issue for many authors, fiction and nonfiction, I know a few name fiction authors whose publishers refused to consider projects they thought were either not similar enough to previous successes, or too similar. Then there are the fights over covers and outsourced editing work. I suppose there’s a golden path that some authors and publisher end up on, but it’s not everybody.

        If your curious to read about the Amazon centric model, I would recommend Aaron Shepard’s book “Aiming At Amazon”, if you Google him and the title, there’s a free draft version on his website.


  9. julie spiegler
    · December 1st, 2009 at 1:39 pm · Link

    Actually, even CreateSpace users may soon have an avenue to brick & mortar stores: selfpublisherstore.com is setting up distribution deals for CreateSpace books. And other self-publishers using printers like Lightning Source means that bookstores still have a healthy supply of physical stock.

    But the parallel to movies/DVD/video on demand is absolutely germane. The distribution channel has evolved, accessibility to diverse content has increased, and the ability for small, unknown creators to become noticed now exists (try that in the studio system of the 1930s and 40s).

    Traditional advertising and reviewers are becoming less influential – those who use twitter and facebook (rather than just “play on them”) rely on recommendations through those channels far more than traditional sources. There are certain audiences that still aren’t effectively reached that way, but the tide is most definitely turning.

    So while aspects of the traditional publishers’ role are still of value to self-publishers, the evolution of the internet to support a community approach to publishing will certainly allow interesting, important voices to be heard that otherwise would not be.

    (and i have several friends without computers who still use software and access the internet via public terminals, schools and the library – so even they can self-publish if they choose.)

  10. CD-Host
    · August 23rd, 2010 at 3:40 pm · Link

    I’m surprised no one gave the obvious analogy here. Obviously in the next generation the NY publishing houses aren’t going to go away. The core of the new self publishing is POD at 1500 copies much less 5000 copies POD stops making financial sense. Once you have offset you have inventory, returns fulfillment… you are basically a small independent publisher. So as long as their are books that can generate widespread demand even in a very overcrowded market there is going to be some traditional publishing.

    But lets play with numbers that could happen:

    Academic publishing drops off as lecture notes replace books and the books that exist are held to much higher standards. This starting happening in Math and the Sciences about 15 years ago but there on the internet before there was a web. A smaller number of books but those that exist are excellent, standard references and widely read.

    Fiction: authors that can command large audiences get widely distributed. Breaking into fiction becomes more like being a successful actress/actor but once you have the name recognition it is worth a lot.

    Consumer non fiction. These fall off quite a bit as other mediums work better. These authors move to web/specialized application delivery. They are still writers but the mechanics of publishing has changed.

    So we could be looking at a world of say 15k books / yr coming out of the NY houses. Picture the movie business:

    far far fewer products than the book business
    most products go “direct to video” which would be the low end of publishing books that sell in small runs (say 2-15k) to specialized readers, probably mostly in e-book form.
    after that come the independent films which go to theaters but appeal to niche audiences. Much less niche than the direct to video. Say runs of 15-200k by way of analogy.
    then we have the commercial films which account for most of the 1.37b tickets sold in the USA last year. (200k, ave 1m).

    That likely what commercial publishing would look like. The vast reduction in books / publishers will make the survivors more popular. I think the analogy in publishing is closer to newspaper in the 70s, where a massive wave of bankruptcy in newspapers in the 70s bought the survivors another generation of good profits that held out till about 2000, and it is this second wave when it looks like the industry is mostly disappearing.

    Or to put this is short order. The consoldiation that has always been part of the film business, came to the music business in the 1950s and came to the newspaper business in the 1970s is hitting publishing.

    As for access to books for the poor. The cost of books, particularly used books is almost nothing. Many libraries throw out thousands of books. Books are sold for pennies on the pound by remainder houses, etc… And the poor do have cell phones, if Asia is any indication the next likely step is “cell phone fiction” free fiction designed to be read in under an hour on a cell phone. AFAIK this hasn’t caught on in English yet, but its not like the idea of a short story is alien the only thing our typesetters would need to learn is how to lay out a book for extended cell phone reading.

    So anyway I think that’s a more realistic view of the publishing world of 2035 than either you or the pro-POD people are proposing. As for paying for gatekeeper role. Absolutely I buy most of my books based on either the author or trusting the publisher. If I know neither I need to read lots of reviews and think carefully about the purchase.

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