Can Traditional and Indie Publication Live as Friendly Neighbors?

 

 By Jody Hedlund, @JodyHedlund

This year in 2016, I have FOUR books slated for publication. Three of them are being published through three different publishers:

Undaunted Hope, a historical romance through Bethany House Publishers (Jan. 1)

A Daring Sacrifice, a young adult medieval romance through Harper Collins (Mar. 1)

Newton and Polly: A Novel of Amazing Grace, a historical through Random House (Oct. 1)

I’m super thrilled about all three of the books. While each of them targets a slightly different audience, my readers seem to be enjoying them regardless of the differences.

So far, I’ve had a very positive experience working with traditional publishers. I’ve learned a LOT about the ins and outs of how the whole process of publication works and varies between houses.

Since I’m in a super busy life stage (raising 5 kids), having a traditional publisher’s help with cover designing, editing, and marketing has really freed up my time to focus on writing. To be completely honest, I appreciate being able to hand something over to my publishers and know that the project is in good hands. It takes a great deal of stress off me.

Not only that, but working with a variety of traditional publishers has helped to get my books in front of different readers. Each of my publishers has different marketing strategies which has allowed my books a wider audience than if I’d attempted to publish them on my own. I’ve also appreciated the relative ease of getting into brick and mortar stores, libraries/library conferences, foreign print, large print editions, wide-scale blogger and reviewer programs, and many other venues.

However, as beneficial as traditional publication has been for my writing career, I’ve been itching to try my hand at indie publishing. I’ve heard so many positive things about it, that I wanted to experience it for myself.

So, this year, I’m dipping my toes into the self-publishing waters. I’m releasing a historical romance, Forever Safe, on June 1. This particular book is the fourth book in my Beacons of Hope lighthouse series published by Bethany House. When I originally brought up the idea of doing a fourth book to my publisher, they wanted me to move in a different direction with another series.

Since I already had an idea for a fourth lighthouse book, I brainstormed with my agent and decided that this might be a good opportunity for me to do something independently. So over the past months, I’ve been able to experience “the other side of the fence” as I’ve been preparing my book for indie publication. It’s been interesting and I still have a lot to learn.

Obviously, I want this fourth book in the series to be of the same quality and caliber as the first three. Fortunately I found a fantastic cover designer (Lynnette Bonner of Indie Cover Design) who was able to match the quality of my previous books (even down to the font). I also put the book through the same rigorous editing process—having content, line, and copy edits.

Even with all of the top-notch help, I have to admit, I haven’t particularly liked the feeling that everything now rests on my shoulders, and that I’m responsible for every tiny detail—things I never had to worry about before. In fact, it stresses me out to think about disappointing my readers in any way.

Friends who have been indie publishing for a while and who are pros at it, have reassured me that the process does get easier and less stressful. So I take hope in that! But for now, it’s been a lot of work and has caused me some sleepless nights.

Will I indie publish again? Probably. I love that I got to write a story that I really wanted to tell and now get to share it with readers. And yes, indie publishing has lots of financial and control benefits.

But going through the do-it-yourself process also reminds me not to forget all of the good things that traditional publication can still offer authors. All too often traditional publication gets blamed and bashed and bad-mouthed. No, it’s not always rosy. I’ve experienced my share of frustrations and problems with traditional publication too.

But there are definite downsides with indie publishing as well, stress, costs, details, and pressure that come with the package. And if I were a newer author without an established readership, I'd wonder how I'd ever get noticed among all of the other new authors out there. The competition is fierce and it's difficult to stand out among the ever-growing population of indie authors. It can be done (we've all seen indie authors who've risen to the top). But often (not always!) debut authors can benefit from having a publisher give them a boost.

From one who has experienced both sides of the fence, I see that there is definitely a place for both and that they can live as friendly, helpful neighbors.

How about YOU?  Is the grass greener on the other side of the fence (or your side)? Or do you think that there is a place for both indie and traditional publication?

Why I Accepted Two More Traditional Book Deals

By Jody Hedlund, @JodyHedlund

These days, indie authors everywhere are singing the praises of self-publishing. In fact, lately I've heard a LOT of positives from those going indie.

The latest issue of the Romance Writers Report through RWA had an article titled, "On the Hunt: A Look into Indie Publishing." At least twice (if not more) the article stated something similar to this: "In all these discussions about indie publishing, not one author said she regrets her decision."

From what I can surmise, most writers who try indie publishing seem to be very satisfied with that option. Some have even gone on to be very successful, hit best seller lists, and make a good living from it.

However, for each indie best seller, there are many self-published writers who have a difficult time making headway with sales. We usually don't hear as much (if anything) about those authors. Why aren't they as vocal about their experiences (compared to those who make it big)?

Perhaps their optimism is still high. After all, the indie movement is young and the possibilities are limitless. Or perhaps those writers are less inclined to open up about failure. It's always easy to share good news. But who wants to stand up and talk about how their efforts were unfruitful?

Whatever the case, indie publishing is spoken of so highly nowadays that as a traditionally published author, sometimes I can't help second-guessing what I'm doing.

But I hesitate only for a minute, then I remind myself there aren't any perfect methods publication. There are always drawbacks to any decision. Ultimately, I have to make the choice that seems right for me personally.

All that to say, over the past five months, I've been offered and accepted publishing deals with two other traditional houses (in addition to Bethany House, the publisher I've been working with over the past few years and will continue to work with). (Many thanks to my new agent, Natasha Kern, for her hard work making it all happen!)

One of my new deals is with Harper-Collins Publishing (Zondervan division) for three young adult(YA) books. As a historical writer, I've always adored the age of daring knights, daunting castles, and the beautiful but courageous ladies who not only fought against evil but also fought to find their true love.

I'm delighted that I have the opportunity to write these exciting and adventurous "fairytale-like" stories that both teens and adults will enjoy. The first book, An Uncertain Choice, releases next spring, March 2015. Here's a sneak peek! Be looking for the full gorgeous cover reveal soon!!

The second deal I'm thrilled to announce is with Penguin Random House (Waterbrook division) for a book very dear to my heart. It's a historical that I wrote about six years ago. However, for a variety of reasons, the book just sat collecting dust.

Finally after all this time, my dream of seeing it in print is coming true! The book will release next fall, Sept. 2015. While I can't share much information about it yet, I guarantee that you'll find it fascinating (especially if you've liked my other stories inspired by real life people from history).

You might be wondering why I've chosen to continue with traditional publication, especially when so many writers are lauding self-publication. Here are a few reasons:

1. With my busy life stage raising five kids, traditional publication frees me up to focus more on my writing output. I don't have to concern myself with everything involved in publication like getting an ISBN number, writing blurbs, contracting editors or formatters or cover designers, etc. I can focus the majority of my limited work time on writing.

2. I value the input of editors within the traditional publishing industry who've been in the business for years and who have a pulse on their specific markets. Such editors are able to give big-picture/content edits that are invaluable.

3. I appreciate having the guarantee of high quality covers and books without any worry on my part. My publisher is as invested as I am in seeing that the book has an excellent cover, is formatted to perfection, and has no errors.

4. I like having my books in a physical store. Even though shelf space is shrinking, it's satisfying to know readers can browse and pick up my book from a real shelf.

5. While some libraries are opening up to self-published books, it's still not a completely open door for indies yet. Not all traditionally published books make it in to libraries either, but most libraries are willing to take requests for traditionally published books if they aren't already there.

5. Traditional publication still offers the possibility of getting reviews by major reviewers like Publishers Weekly, Booklist, Library Journal, Romantic Times, etc.

6. Although all writers whether self or traditionally published must market, I appreciate having the creative help of a publicist and marketing specialist along with publishing house dollars.

7. It wasn't too long ago that self-publishing contained a stigma. Even though the stigma is decreasing, unfortunately it still exists to a degree (probably because of the few who self-publish poor quality writing before they're truly ready). I like having the validation that a traditional publisher still gives.

So there you have it! That's why I accepted two more traditional publication book deals and why I'm super excited about them both!

What are your thoughts about indie versus traditional publication? What is your preference and why?

P.S. If you'd like the chance to win a copy of my newest release, make sure to check out my "Behind the Scenes of Captured by Love" blog tour happening the rest of July!
 

3 Areas That Suffer in Quantity-Driven Writing

By Jody Hedlund, @JodyHedlund

Once upon a time, most writers could survive by writing just one book a year. But in the changing landscape of the publishing industry, with lower advances and sales, writing one book a year isn't financially feasible for many.

With the ease of e-publishing, more and more writers are able to publish their books. But unfortunately the reading population hasn't gained as many new readers at the same rate as the number of new authors. Thus, among the influx of writers, the publishing pie has been cut into smaller and smaller slivers so that the majority of writers are earning significantly less.

As writers earn less, one of the solutions is to publish more with the hope of increasing earnings with each book out there. Obviously an author has the potential to make more money with five published books versus one.

In addition to hoping to increase earnings, writers are moving toward quantity writing because having backlists has become one way to maximize marketing. Many writers offer older books for a reduced price (or even for free) with the hope of gaining new loyal fans who buy current releases.

With so many authors and books available, it's all too easy for readers to finish our book and then find another author or book that catches their attention. Consistently having books to put into our readers' hands keeps our names fresh in their minds amidst the growing competition.

Whatever the case, the trend over the past couple of years has moved toward quantity publishing and long tail marketing. Among indie authors I know, it's not uncommon to see them releasing a new book every few months.

While the nature of traditional publishing may not allow for authors to put out books quite so frequently, many are self-publishing alongside their traditional book deals to allow for more quantity.

In this modern era of quantity-driven writing and publishing, however, there are a few pitfalls. I've had to be careful not to fall into the pitfalls myself.

1. Skimping on Research:

Research is an integral part of the writing process for most writers. Whether we write historicals, thrillers, suspense, or contemporary romance, we all have areas within our stories to research.

If we're striving to add some freshness to our story and move beyond the mundane of what most people already know, then we have to seek out new occupations, new locations, or new issues that go beyond the ordinary.

But of course, it takes time to investigate issues, interview experts, read research books, or even take trips to do more in-depth hands-on learning.

When pressed for time, research often suffers and consequently so does credibility, passion, and the thrill of unique and fresh material.

2. Skimping on Depth:

The age old question still arises: quality versus quantity? And is it possible to write fast and prolifically and still have stories that are well-plotted with characters that have clear arcs and settings that are full of sensory details?

Of course, I don't think fast writing equates poor writing. Many writers who have been using their creative muscles for a while, have honed them, learned writing techniques, and are able to produce large amounts of beautiful prose in short amounts of time.

But on the other hand, prolific writing doesn't always allow writers the time to reflect on issues within stories, to add more twists, to create more suspense, or to take characters deeper. In the rush to produce, writers may sacrifice the contemplation and mulling process that can take a story from good to great.

3. Skimping on Editing:

Often the first place writers cut corners on the road to publishing is with editing. Sometimes writers may not want to take the time to let the story have a resting period in order to gain objectivity. They may finish the writing and jump immediately into editing the book.

Usually our books need to be self-edited multiple times. One or two read-through's is never enough. But if we're in a rush, we may cut out some of the nit-picking or we may decide not to rewrite a troublesome spot.

Other writers may not want to pay the cost for a good content AND line edit. They may pay for one and neglect the other. Or they simply may be naive enough to think they can go it alone (or perhaps with the help of a critique partner or two).

My Summary: While there's nothing wrong with quantity writing, we all need a reminder now and then (including myself) not to sacrifice too much for the sake of getting our stories out there. In the end, quality still trumps quantity in building loyal and happy readers.

What about you? What are some of the pitfalls (or positives!) you've noticed about quantity-driven writing?

Walls on the Path to Publication: a Necessity or a Nuisance?

How can writers know when they’re ready for publication? How can they know when their writing skill has reached a quality that rises above amateur? And likewise, how can they know if they have a story that will resonate with readers?

These are age-old and very sage questions. I wrestled with them back in the days when I was querying. I think any wise writer will wrestle with such questions—trying to gauge their readiness and show caution before plunging into publication.

In the past, particularly with traditional publication, writers would hit brick walls that would cause us to evaluate our readiness. And those walls usually came in the form of rejection letters or agent or editor passes. The rejections would force us to work harder, challenge us to learn more about writing fiction, and push us to take our stories from mediocre to standout quality. If we had any hope of breaking through, we had to strive really hard to become better.

But nowadays, with so many writers opting to self epublish, the traditional wall of rejection has crumbled. The walls of waiting, persevering, and the pain of the journey are no longer barriers either.

The road to publication is wide open. Anyone, anywhere can publish anything without any barriers. Writers no longer have to push through the walls that once stood in the way.

Some would claim that’s a good thing, that the wall prevented too many good writers with good stories from having the chance of publication. Others would claim that the crumbling wall is now contributing to a new problem—a flood of poorly written self-published manuscripts crowding virtual shelves making it difficult for those good books to stand out.

Whatever the case, we would all do well to remember the mantras: Nothing good ever comes easy. No pain no gain. There are no shortcuts to any place worth going (thanks Christy Farmer for that one!).

In other words, walls of some kind or another are worthwhile to each of us. Whether those walls come externally or internally or both, we’re usually better off for having scaled them rather than skirted them.

I liked how my agent Rachelle Gardner recently described walls. She said, “Obstacles to our dreams are like brick walls, put there to test how badly we really want something . . . those brick walls stop the people who don’t want it badly enough.” And the brick walls strengthen those who persevere.

So, back to the original question: How can writers know when they’re ready for publication?

My answer: Set up a few walls.

What do I mean?

Before rushing into publication, put into place some barriers or trials that can test your writing skill and story-telling ability.

Of course, those heading toward traditional publication will still hit the walls of rejection from agents and publishers. But even so, all of us, no matter our publishing venue can put into place walls that will help us test our work and abilities. Instead of rushing to put something out there whether on Smashwords or CreateSpace or in a query to an agent, first we should evaluate if we’re ready.

Here are just a few ways we can do that:

• Hire a freelance editor. This is a must for anyone self-publishing. But even those seeking traditional publication can benefit from the skillful eyes of an editor. The lists of freelance editors has exploded over the past year. I suggest beginning with recommendations from other writers you trust. I also suggest my agent’s list of editors as a place to start.

• Get into a critique partnership or group with other skilled writers who can give qualified and objective feedback about the writing craft.

• Give the book to beta readers who can test your story-telling ability. They may not be qualified to catch editing mistakes or writing craft issues. But they can give feedback on the story.

• Enter writing contests that offer written feedback from judges. Sometimes the contest scoring can let us know how we’re doing compared with other writers.

• Give ourselves some distance from our manuscripts. After completing the first draft of a book, I edit it, but then I usually wait several months before I go back to it and do my in-house rewrites. The time and distance help me approach my book with a fresh perspective. I’m usually able to see the story more objectively.

• Use a how-to-edit book during our self-editing. I highly recommend Revision And Self-Editing by James Scott Bell and Self-Editing for Fiction Writers by Browne & King.

The point is to establish some walls that keep us from rushing headlong into publication, some bumps that slow us down, some checks that help us evaluate more clearly just how ready we really are.

What’s your opinion? Are walls a necessity or a nuisance? Do you think the road to publication has become too easy? Or do you think the crumbling wall has been a good thing for writers overall?

The Difficulty of Finding Story Ideas That Publishers Like

In today’s ever-changing publishing industry, oftentimes writers end up feeling that getting a traditional publisher’s attention is almost impossible.

Sometimes we wish we could be a fly on the wall in an editor’s office so that we could hear what kinds of stories they’re looking for, what interests them, or what doesn’t.

Because honestly, figuring out the “right” story or a break-in book feels like a shot in the dark. We go to all the work of writing a story, only to be given one excuse or another (See this post: Are Agents & Publishers Too Picky?)

Naomi Rawlings said this in a recent comment: “Publishers say they want fresh stories, but if your story is too fresh, they'll say they don't have a reader base and it isn't marketable enough. On the flip side, if you have a story set in a tried and true setting, say a western or prairie or Alaskan gold rush, a new writer may well hear his/her story isn't original enough and the industry is glutted. So what should new writers write to get publisher attention?”

We get mixed messages that leave us confused, hurt, and maybe even angry.

So, what’s a writer to do? What stories are publishers looking for? Do they really want fresh or do they want the tried-and-true?

First, let me just say, I’m not a publisher (surprise, I know!), and I don’t have any connections to publishers (except the one I’m contracted with). So, I’m not trying to defend the traditional publishing industry, not trying to sway anyone to consider it (if they’re happily self-pubbed), and not saying I like things the way they are.

The fact is, even as a contracted author, I still have a difficult time finding ideas that my publisher thinks will translate into a saleable book. My agent recently sent a new proposal to my publisher with six brand new book ideas I’d researched. But during a committee meeting, my editors were able to easily toss several of the ideas into the already-been-done and readers-won’t-like-this piles. And these were stories I thought were original but still ones readers would enjoy.

But the thing is, my publisher tracks sales on my books on a daily basis. They watch closely and count every sale in every possible format (paperback, ebooks, bookclubs, etc). Based on the statistics they can see overall patterns in what their particular readers are buying, what they like, and what doesn’t sell so well. They do take chances from time to time, and some of those books do well and other don’t. In this tight economy, they can’t afford to go out on a limb too often.

In other words, publishers are trying to print books that the majority of their readers will like. And while it’s not always easy to predict, they look at sales figures and the market to help them make decisions.

So what’s my point?

First, those of us seeking traditional publication need to pay attention to what kinds of books are commercially viable. We’ll need to be aware of what’s selling and why. We’ll have to keep the readers' needs in mind as we sift through our story ideas.

Second, we can stay fresh and original with the-tried-and-true. Fellow Bethany House author, Anne Mateer recently finished reading my new book. She sent me an email and pointed out how the basic plots of our books are similar. Her debut book, Wings of a Dream, has a young woman taking care of a widower’s four children (similar to my plot in The Preacher’s Bride). And our second books have some elements that are the same too. But . . . even though we both have plot commonalities, we’ve dressed up our books differently. Our voices and styles are unique. We’ve each added our special flavor to our stories. In other words, we can take well beloved plots and make them stand out.

Third, we have to be market-savvy but also tell the story we’re passionate about. When we write a well-crafted, riveting, page-turning novel that flows out of the passions in our heart, then even if it falls slightly outside the box, publishers might be willing to give the book a try. Sometimes, story trumps all. However, when bigger traditional publishers decide they aren’t able to take the financial risk, then we might consider a smaller niche publisher or even self-publishing.

My Summary: Writers pursuing traditional publication will need to consider the financial constraints inherent to the industry—which means we can’t write just anything and hope for a contract. But the beauty of today’s ever-expanding technology is that publication options are growing. Writers don’t have to “fit” the traditional standards in order to see their book in readers’ hands.

What about you? Do you think your books are fresh enough but still tried-and-true? Or does your book fall outside of what most larger traditional publishers are willing to take a risk on?

P.S. Don't miss the opportunity to WIN A SIGNED COPY OF MY NEW BOOK, The Doctor's Lady! Head over to Trivia Question #3 for your chance to enter the drawing! Deadline is Thursday at 10 pm.

How Can Writers Know if Their Work is Ready for E-Publication?

E-publishing is growing in popularity. With the ease and low cost of getting a book into digital format and the lure of retaining the larger share of profits, e-publishing (as a self-publishing option) is a tempting choice for many writers.

Currently, anyone, anywhere, with any type of printed word can take a shot at e-publishing. And while I’m all for freedom of expression, and artistic license, and doing what’s right for you, and all that good stuff, sometimes I can’t help wondering if maybe we’re taking self-publishing freedom a bit too far.

Should we as writers develop a few general standards by which we measure our readiness for e-publication? In other words, how can we know if our work is ready for any publication, particularly e-pub when we don’t have some of the checks and balances that traditional publication provides?

Recently, fiction-writing guru James Scott Bell decided to venture into e-publishing. He’s the author of the widely popular Writer’s Digest books: Plot & Structure, Revision & Self-Editing, and Art of War for Writers. His newest writing book, Writing Fiction For All You’re Worth, just released. And wouldn’t you know it, he published it himself in e-book format. And he also recently self-published his e-book, Watch Your Back, a collection of suspense stories.

Because I respect Jim for his writing wisdom, and because I was curious about his venture into e-publishing, I asked him a couple questions. (For more of Jim's thoughts see this post: The Eilser Sanction.)

Me: If you were just starting out as a relatively unknown debut author, would you try e-pub? Why or why not?

JSB: First of all, I would not rush into anything, be it e-publishing or querying agents. I would first do everything I knew to make sure I'd written the best book possible. Most of the time that is not going to be a first novel. You have to become a real writer, being able to do more than one book, and making each book better than the last. Learning to write requires an apprenticeship of years, and just because you CAN put something out as an e-book doesn't mean you SHOULD.

The traditional route has the advantage of telling you a lot about your writing. It teaches you discipline and professionalism and how to create works that are marketable. All good.

Getting a good agent to be your partner is also a major plus in a writing career.

So, no, I wouldn't rush to e-publish. I'd spend time writing, going to some conferences, being in a critique group, and above all those things, learning to write.

Me: Without the checks and balances that traditional publication provides, what are some ways writers can know if their work is ready for e-publication?

JSB: That is indeed one of the good things about the traditional route. But then again, there ARE some very good novels that should be published but aren't.

How to tell if yours is one?

One gauge is a group of beta readers. In my early years I used the managers of an indie bookstore I loved (sadly, gone the way of so many other stores) and friends who were readers (not necessarily writers). I'd give out 5 manuscripts minimum. If I got back some of the same comments, I'd know that aspect would need work.

If I was just starting out, I'd do it this way. I'd first do back cover copy to see if my idea gripped people. I'd have some people over for dinner and pitch them the story, then sign them up for Amway. On second thought, maybe just pitch the story. See if you get an "Oooh" factor. You could do that with a few ideas, in fact.

The reason for this is you can have a nicely written but low concept or low stakes novel. And a book needs concept and/or stakes to be worth doing.

Now write it. Then test it. Then pay for a good edit.

Is your book ready now? Remember William Goldman's axiom about Hollywood: No one knows anything. So, in the end, you make the call...you know as much or more about it than anybody else.

My summary:

We need to develop personal standards for our own work and set them high. Remember most writers are blind to their own faults. So if we’re thinking about venturing into e-publication on our own we must have beta readers, critique partners, and professional editors. In other words, we need trusted, critical feedback from many sources.

After having been through rigorous traditional in-house editing process for my books, I cannot stress enough the importance of getting qualified and objective feedback. My books have numerous (a dozen or more) sets of eyes read and comb through them before they hit the shelves. We should expect no less from ourselves with e-publication.

By the way, if you want help in taking your writing craft to the next level, I strongly suggest picking up one of Jim’s books. In fact, his e-book WRITING FICTION FOR ALL YOU'RE WORTH is available for $2.99 on Amazon. I bought my copy last week and love it!

So, what do you think? How can writers set high standards for themselves no matter what publishing route they choose? Have you set standards for yourself? If so, what are they?

The E-Publishing Outlook for Average Authors:My E-Book Sales

Like most of you, lately I’ve been paying attention to all the hype on e-publishing versus traditional publishing. We’ve been getting the perspective of best-selling authors, like Eisler and Hocking. And sure, we can listen to their thoughts and advice.

But what does e-publishing mean for non-millionaire authors—which is what most of us are (including myself).

I recently got this comment, “For many writers, especially polished and seasoned writers, e-publishing is the best way to go . . . I can't honestly think of a good reason for a writer to NOT e-publish at the moment. Even if you have a print contract you should e-publish.”

The comment sums up what many people believe, that e-publishing is the becoming THE best publishing option, the way to make the most money. But is it really? Especially for average authors?

In light of all that’s happening in the publishing world, I asked my publisher for my sales figures. From what I could tell, the e-book version of The Preacher’s Bride seemed to be doing well.

When I got the numbers from my publisher, I was shocked to find out how low my e-book sales were compared to my print sales. My e-book sales comprise less than one percent of my overall sales so far.

LESS than ONE percent.

For an author with a wide-spread web presence, I had expected my e-book sales to have a larger share of my sales figures.

Sure, maybe I’d have more e-book sales if the price dropped from $9.68 to $2.99. But how much more? Is price really the determining factor for how well an e-book sells, or are there other factors that come into play?

Here are just a few things average writers should consider before taking the e-publishing plunge:

1. Who is the primary audience of your book? And are they buying e-readers and e-books?

I write inspirational historical romances. The majority of my readers are women in the 40-60 age range. In fact, I get handwritten notes from ladies who write in cursive, who don’t have email, who might not even have computers. They’d most certainly never be interested in the latest Kindle version of my book.

When we’re immersed in the writing industry and the blogosphere, we’re surrounded by fellow writers and industry professionals who all have the latest reading devices. But in reality, the large majority of readers still buy regular books.

If I’d only gone the e-publishing route, especially as a debut author, look at the 99 percent of my readership I would have missed. Of course times are changing. But I still don’t foresee middle-aged women and older shifting to Kindles any time soon.

The point? Know your audience. Are they online? Are they computer savvy? Do they like modern technology? Or do they prefer the tried-and-true?

2. How big is your established readership? And would they be willing and able to make the switch to e-books?

Can e-publishing be successful for “polished or seasoned” authors who already have a couple of books under their belt and have an established readership?

After I finish my current 3-book contract with my publisher, what if decide to head out on my own and try e-publishing instead of the traditional route? Since I already have a growing readership that loves my books, wouldn’t they be willing to follow me over into a new format?

Obviously most of my fans prefer paper books. In other words, paper readers and e-book readers are still very distinct among many demographic groups.

The point? We’ll likely lose a large percentage of our paper fans if we strictly e-publish. We’ll probably have to develop a new, different readership, similar to what happens when authors switch genres.

3. How much time, energy, and savvy can you devote to marketing?

If you follow me on Twitter, Facebook or my blog, you’ll probably agree that I’m quite active and put a pretty high emphasis on developing an online platform. I’ve worked hard to develop a wide web presence.

With my online presence combined with all the time, energy, and savvy I’ve put into marketing my debut book, you can understand my surprise that my e-books statistics aren’t higher. Imagine what the sales could look like for a writer with a significantly smaller online platform.

We certainly can't turn our noses up at the fact that established publishing houses offer fiction authors (especially debut writers) their platform. They have many, many readers who trust their brand and the books they produce. Though we do all we can to grow our platforms, we can't discount the sales that come simply by being connected to a well reputed publisher.

The point? E-publishing millionaire Amanda Hocking summed it up: “The amount of time and energy I put into marketing is exhausting. I am continuously overwhelmed by the amount of work I have to do that isn't writing a book. I hardly have time to write anymore, which sucks and terrifies me . . . . Just because I sell a million books self-publishing, it doesn't mean everybody will. In fact, more people will sell less than 100 copies of their books self-publishing than will sell 10,000 books. ”

Your turn! Have you considered e-publishing? Do you think it’s been slightly glamorized with all of the recent hoopla? Or can it be a successful option for the average writer? Why or why not?

Come back Wednesday as I chat with James Scott Bell about his venture into e-publishing and his thoughts on how writers can know if their work is ready for e-publication.

Can Writers Realistically Make a Profit Self-Publishing?

Occasionally I get this question, “Did you ever consider self-publishing?”

And I have to honestly say that no, I never gave it a thought. Not only have I always had the goal of traditional publication, but when I first started querying I was naïve about the self-publishing process. I knew absolutely nothing about it, and therefore wouldn’t have known where to start even if I’d wanted to pursue it.

Most non-traditional publication gets labeled “self-publication.” Perhaps in one sense, when we choose to publish (versus having a publisher choose us), then we are self-publishing. We, ourselves, are taking the initiative and making it happen, rather than waiting for someone to give us permission.

For clarity’s sake, however, let’s define a few of the major publication options (this list is NOT all inclusive and there is overlap):

Traditional publication: A company pays an author to publish a book through advances and royalties. The publisher invests in the editing, marketing, and promotion of the book. These types of houses are usually closed to unsolicited manuscripts and require an author to work through an agent.

Small press: They're similar to traditional companies, but operate on a smaller scale and budget. Advances and royalties may be less. Like larger houses, they make their profits by selling books to consumers, rather than selling services to authors.

Subsidy press: The author must pay a fee to print a book under the company’s imprint. The company often offers paid services for cover art, editing, warehousing, and perhaps some degree of marketing. The books are owned and stored by the publisher, and the author receives a portion of sales in the form of royalties.

Self-publishing: The author takes the entire cost and burden of publication upon themselves. The author is the publisher. Other than using a printer, the author works independently to design, edit, store, and sell the book. All sales proceeds belong to the author.

I’ve known several people who’ve self-published in the truest sense. They have no company name on their books, no extra costs except the price of printing the books, and they had no help—except what they sought. Two of my family members published books this way—mainly for family and friends.

I’m also acquainted with authors who’ve used subsidy presses. A long time friend, Rebekah Freelan, used WestBow Press, a fairly new division of Thomas Nelson Publishers. WestBow describes themselves as “self-publishing company” (although they more closely resemble the description of subsidy press used above).

Rebekah used Westbow to print an Advent devotional: His Advent Still His Greatest Gift. I recently asked her about the pro’s and con’s of her experience, and here’s what she said:

Pro’s of Using WestBow:

• Being able to publish without having to secure an agent or a publisher.
• WestBow has affordable packages (Rebekah used the cheapest package and paid an upfront $700 fee, which included a 20% discount special at the time she initiated the process.)
• She liked the amount of input she had over design and content, and thought the staff was very proactive in helping her.
• She’s purchased a total of 750 books, and has sold enough copies to pay for the cost of buying those books as well as pay for her initial investment of $700.

Con’s of Using WestBow:

• Lack of promotion (if she’d paid more, they would have helped more). She said it’s been a struggle for her to promote the book because marketing isn’t something she’s good at.
• Lack of guidance in the business aspect of the process of publication.
• Hasn’t earned enough money to begin seeing a profit yet. She said she could make up to $3000 if she sells all her books.

In summary, Rebekah said this: “Would I try it again? I would. I would still like to try to publish traditionally but I had a good experience and would do this again. Some of my upcoming projects would go much more smoothly if I had the assistance of a traditional publisher, though, admittedly.”

I have another friend who’s used a subsidy press for her delightful children’s book. And she too struggles with the time and effort it takes to promote her book. She has to work hard for every sale she makes.

The more I learn about subsidy and self-publishing, the more I realize that writers need to carefully consider the financial aspect and ask themselves: Do I care about making money from the venture?

It’s already hard enough for most traditionally published authors to make a profit from publication—even with the backing of a publisher’s marketing and publicity departments. So, without any help (or with very little), a subsidy or self-published author must be realistically prepared for an uphill battle. They’ll have to make peace with making little to no money, as well as the possibility of actually losing money.

Recently, Eric at Pimp My Novel asked his readers to weigh in with self-publishing success stories. Interestingly, none of the writers reported making more than a couple hundred dollars. Granted, success isn’t always measured in dollars. But I think most of us, if we’re completely honest, would like to eventually see some financial compensation for the hours, weeks, and months we put into our books.

What do you think? If you’ve self-published or used a subsidy press, how hard or easy has it been to make a profit? And if you’re going the traditional route, did the possibility of making a profit play a role in that decision?

The winners of The Preacher's Bride Christmas giveaway are: Lily Robinson & Tina Toler. Congratulations! Thanks to all who entered! I loved the enthusiasm of everyone!

3 Mistakes Writers Make in the Quest for Publication

How can writers decide which type of publishing is right for them? Traditional publisher, smaller house, subsidy/vanity press, e-publishing, or self-publishing? Every writer must choose which type of publication adventure they want. There are no wrong choices. There are, however, wrong WAYS to make the choices. Here are 3 mistakes writers can make in choosing a publishing option:

1. Failing to do proper research.

The average reader lumps all books together. In my experience, local friends don’t distinguish my traditionally published book from an author friend who used a subsidy press. Our mutual friends proudly put us in the same category as “published authors” and are equally excited for both of us. They don’t examine our covers for our publishing house logos. They don’t understand the differences between our journeys to publication. And that’s okay. They have no need to.

But . . . a writer seeking publication SHOULD understand the differences completely and thoroughly. Before choosing a method of publication, every writer should do extensive research on all the options, look at the pros and cons of each one carefully, find other authors who’ve used particular publishers and ask them about their experiences. Choosing a publishing option is a very big decision with significant ramifcations for everything including editing, book covers, and marketing. We should go into our publication choice knowing exactly what the publisher offers and what we'll be responsible for shouldering.

2. Having wrong expectations.

When we started seeking publication, most of us had unrealistic expectations about the process, particularly of traditional publication (myself included). We finished our first book, jumped up and down with excitement, and knew the world would love it. We figured if only we could get our book in front of the right people, they’d ooh and aah over our original, creative, inspiring book.

When rejections began to roll in, we started to wonder what was wrong with publishers and agents. Surely something was messed up with the entire system if the professionals could so quickly and easily dismiss our works of greatness—often without even a word. We were tempted to get angry and bitter, and may have even said something like, “With all of the mediocre books on the shelves, surely mine deserves a spot.”

If we reach that point, first we need to evaluate if we have a realistic view of our own writing. We should get a qualified and objective view on our books from someone who is willing to be honest about our skill and story (consider the possibility of a freelance editor). And second, we should make sure we’re immersing ourselves in the publishing industry so that we can have a better perspective on the realities of the business.

3. Giving up too soon.

I respect those who take the time to investigate all of the options and choose what is best for them and their book, no matter where that leads. However, many writers start down the road to traditional publication without weighing what is best for them. Often traditional publication is the default choice. The problem with this way of thinking is that when things start to get rough (and they will), many writers give up the traditional route and head down other avenues, in some ways sending the message that non-traditional methods are Plan B, sub-standard, and last-resort. And is that what we really want?

So first, I think everyone should do their research and decide which type of publication fits best. For those who choose traditional publication, we won’t have the choice to give up when the wait begins to be interminable, when the rejections pour in, when the door seems like it keeps slamming in our face. We’ll continue to persevere on the path that we think is best for us.

Of course, everyone has the right to change their minds, to explore new options, to re-evaluate what works for their story. But . . . all too often writers give up on traditional publication because the going gets rough, when really they needed to stick it out, give it more time and effort, and continue to grow in their writing skills and story-telling ability.

~Summary: The beauty of the publishing industry today is that there are so many choices available for all of us, choices that can fit our unique interests and stories. But I firmly believe every writer needs to choose WISELY.

Do you agree or disagree with my logic? Do you think that some writers choose publishing options unwisely, based on lack of research, faulty expectations, or giving up too soon? What method of publication have you chosen? And have you thought through the decision carefully?

Marketing Woes. What's an Author Really Suppose to do?

I admit. I'm the first to copy a good idea when I see one--or at least think I should copy it. When a few blogging friends were making book trailers, I was sure I needed one. And when others have done vlogs or podcasts, I began to wonder if I should too.

It's easy to compare our efforts with what others are doing and measure up short, isn't it? We don't want to be left behind in the competitive race to make ourselves and our books stand apart from others, so we keep adding tasks to our marketing endeavors.

That brings us back to the questions we raised in the last post: What really works? What should we do before publication? Where should we focus our limited energy and time?

First, platform-building is more important for non-fiction than for fiction. We'll usually buy a parenting book, personal growth book, or whatever, from someone we already like, versus someone we don't know.

Second, we need to have an idea of what type of publishing house we're targeting. For non-fiction and fiction alike, the type of publishing house makes a huge difference in what's expected of us.

If we're self-publishing or going with a smaller press, then the burden of most, if not all, the marketing will fall upon us. We will have to look for every gizmo and gadget that can help push our names and books into the far reaches of the public eye. We may have to work just as hard at selling our book as we did at writing it, if not harder. We have to be prepared to use every possible avenue for marketing, and the more the better.

Because of the extreme marketing efforts required for self-publishing or small press, we hear about it, we see our friends' hard work, and we often begin to think this hype is the industry norm. Those of us pursuing traditional publication get ourselves worked up with the marketing frenzy. We rush around and try to do what everyone else is doing, getting frazzled in the process.

But, what is truly necessary for those pursuing traditional publication with bigger houses? What will the marketing department do? And what is the author's responsibility?

When I sat down with the Bethany House Marketing Team, I quickly realized I'd bought into the hype, into believing that marketing my book was mostly my responsibility. After only a few minutes of talking with the Team, they straightened out my misconception.

They will have much more influence than I ever could. Their sales team will get the book into big bookstores, big box stores, and to distributors. Their publicity already has established connections with pertinent magazines and media. Their publishing house name and reputation will take my book far beyond the reaches that I, as a no-name author, ever could.

In other words, anything that I can do to help generate sales on my book will be insignificant compared to what they are capable of doing together as a marketing and sales department. Now, does that mean I don't have to do anything? That I can sit back and kick up my feet?

Absolutely not. As we said in the last post, writers must participate in the marketing process. It's just good business to do whatever we can to help boost our sales. But I don't have to do everything. I don't even have to do most things.

What Bethany House marketing encouraged us to do was focus on what we like and what we're good at. For me, that's this blog. For one of the other debut authors that means putting energy into her website. She doesn't need to start a blog--it's not something she's interested in or wants to devote energy to. For others that might mean public speaking, teaching courses, making local connections.

The bottom line is this: If we're heading toward traditional publication with bigger houses, we need to take the pressure off ourselves to do everything, to stop worrying about having to copy what every other writer is doing. Instead we need to find our unique marketing strengths and cultivate them. That's where we'll truly shine.

Have you gotten sucked into the trap of trying to do everything or in copying what others are doing? What are your strengths and what are you doing to cultivate them?

Getting Impatient and Considering Self-Publishing or a Small Press? Read This First.

Last year at this time, I was unagented, unpublished, and trying to decide whether my skill level was ready for writing contests. Now a year later, I'm exchanging emails with all the publishing people we writers hold in such awe: editors, marketing staff, publicists, and other office personnel.

Every time a Bethany House address shows up in my inbox, my heart skips, and I think, "Wow, I can't believe little ol' me is talking to someone important at a publishing house."

As you know, last week I had the privilege of traveling to Minneapolis and meeting the Bethany House staff. After years of waiting and wishing to be a published author, it's hard to shed the feeling that I'm a nobody writer.

But when I walked into the beautiful facility, I immediately had the sense they'd rolled out the red carpet for me. They were as pleased to have me visit as I was to be there. Many of them had read my book, were investing time and energy into it, and now were getting to find out exactly who they were helping.

When they welcomed me, I felt like I was joining a big family. I wasn't the lone writer on the fringe looking in on all those big, scary, important people. Instead I was one of them, apart of something much bigger than myself.

The trip got me thinking, however, about self-publishing or small-presses, where the burden of the book falls primarily on the author. If someone is considering self-publishing or going with a smaller press, here are a few things a writer might sacrifice:

Support: The entire staff at Bethany House is working with me, wanting my book to succeed just as much as I do. They're willing to do whatever it takes, because when one member of the family succeeds, then everyone benefits. They are in regular communication with me about everything and have encouraged me to email them whenever I need help or have a question.

Consensus: At Bethany House most decisions are made in a committee. Everything from whether to take on a book and what rewrites the book will need, to the title and cover. The input from so many workers helps ensure objectivity. When a group of qualified professionals discusses every pro and con, I can rest assured they've come up with the best possible suggestions.

Quality: With so many people handling and reading my manuscript, they are pursuing excellence not only in my manuscript itself, but in every other aspect as well. The creative team is paying attention to each detail of the cover, the copy-specialist is crafting the perfect blurbs to go on the book, and the marketing team is analyzing every possible marketing opportunity.

Sales: During my meeting with marketing, I learned that I should do all that I can to help promote my book, particularly the things I enjoy. But ultimately anything I do is really a drop in the bucket compared with what their sales and marketing team will be able to do to help generate sales on my book.

Obviously not everyone needs or wants a big traditional publishing house. But I think all too often writers turn to self-publishing or smaller presses, because we get tired of waiting. Such options might help us get our books "out there" much quicker than if we hold out for a traditional house to notice us. But what will we sacrifice in the process? Look at all I would have given up if I'd grown impatient.

The rooms and halls of Bethany House are decorated with enormous pictures of book covers. Some were from books I'd read when I was a teenager and others from more recent novels. They graced the walls much the same way portraits of family members hang in our homes.

It doesn't really matter whether my book cover ever makes it to a wall at Bethany House. What's most important is having the opportunity to be a contributing member of a supportive publishing family, and that together we're working to make my book the best it can be.

How about you? Do you ever get tired of the wait? Have you thought about making a go at publishing alone? Or are you holding out for traditional publication?

Are Self-Published Books REALLY Second-Class?

I'd considered writing a warm and fuzzy "What I'm Thankful For" post for today. Instead, I couldn't resist jumping into the gravy pot and swimming around in the murky self-publishing discussion. Indulge me for a minute and jump in too. I hope this post is a different flavor than what you've already tasted.

In response to my last post, What Do Agents REALLY Offer Writers, there were a couple of comments that not only surprised me, but sent my mind into overtime. Both comments alluded to the idea that self-published books are plan b or second class.

Karen Walker said: What about the really good writers out there who try and try to find an agent and just don't have the luck. They never know if it's the query letter or whether they just got lost in the shuffle. . . How long is a writer supposed to try? I tried for almost 2 years. Self-publishing was not my first choice--it was always my plan b.

Eva Ulian said: I’ve dealt with more agents than I have seen Sunday dinners. I think assisted publishing like WestBow is an unprecedented, excellent opportunity for us, often categorized by agents as “second class,” “inferior fodder” of the writing industry.

First of all, I hope I've never given anyone the impression on this blog that self-published books are second class. I haven't read many self-published books and am not in a position to pass judgement.

The reality of the writing business is that there is no easy way to define what makes a book appealing to agents and editors. But I do think there are several factors that come into play:

Writing Skill: I'm sure there are self-published books that didn't make it through the agent/editor "gatekeepers" because the skill of writing wasn't up to par. And yet we can all point to best-selling books and find fault with the number of adverbs, clunky dialogue, or passive verbs.

When my book is released, I suspect I'll receive criticism, especially from other writers. Just because I have an agent and editor doesn't mean my book is perfect. And just because someone is self-publishing doesn't automatically mean they have poor writing skills. Whether going the traditional route or self-publishing, we're all at different places in honing our writing skills and learning the craft.

Story-Telling Ability: We've all read published stories that fell flat--books we put down and couldn't finish. Some writers have a natural ability and some have to work really hard at it.

Perhaps we've got the gift (or worked for years to develop it) and now we've written a book set in ancient Mesopotamia, and it's full of adventure, and romance. The drama and excitement are all there. But still we can't find an agent or editor to take a look. Does that mean our story-telling is second-class?

I would say, no, of course not. In fact we may have nearly perfect writing skills AND an incredibly well told story. So, we're definitely not second class. Instead I would have to say the issue lies more with the last point. . .

Saleability: Agents and editors have to constantly look at what the large majority of readers are buying. They have to keep tabs on what is selling or what they think will sell, and then plan accordingly.

Most of you already know I had two books under consideration for contract, but Bethany House only took one of them in the three book deal they offered me. That doesn't mean my other book is second-class. It just means that right now it's not as saleable, especially for a debut author like me. I need a break-in book. (Read here for more about break-ins.)

So, are self-published books REALLY second class? If I self-published my second book someday, would it be inferior to my traditionally published book? I doubt it. And no, I'm not planning to self-publish it. For now, I'll continue to work on writing saleable books and maybe someday my second book will have another chance.

My final word of humble advice: If you want traditional publication, don't give up too soon. But also know that it takes more than writing skill and story-telling. It takes a saleable book--and that's not so easy to figure out.

What do you think? Are self-published books generally considered second-class? And is it fair or unfair to stereotype them as inferior? I'd love to hear your opinions.

Happy Thanksgiving! Even though I won't be posting again until Monday, I'll still be checking in and reading ALL of your comments!