Self-Publishing

An arm with a tattoo: "I was made for the library, not the classroom."

Is Social Publishing simply Vanity Publishing 2.0?

Mural: Vanity by by Franco Folini
Mural: Vanity by by Franco Folini

“Yes, Sir, there are many happy people here. There are many people here who are watching hundreds, and who think hundreds are watching them.”

Samuel Johnson, Quotes on Vanity

“Digital publishing”, “ePublishing” and “social publishing” are the buzzwords du jour; Web 2.0 business models based on the idea that eBooks are the next big thing and social media platforms and tools are the best way to sell them.

There’s seemingly a new “publisher” putting up a digital shingle every day, and while the description and details vary somewhat among them, the usual common denominators are a savvy marketer’s dream combination of truth, opinion, hype, and a dash of old-fashioned “snake oil” opportunism:

  • Print is dead.
  • The distribution system is broken.
  • eBooks are teh future.
  • Social media has made us all publishers and journalists.
  • Writers will do anything to get published.

That last point typically represents the digital start-ups’ primary source of income, monetizing a community of aspiring writers by selling their work back into the community, or by offering them fee-based services that allow them to do it themselves. In their ideal scenario, they double-dip.

While generally offering legitimate contracts and something resembling a distribution and marketing program — the latter of which will still fall primarily in the author’s lap — there’s a vague whiff of old-school vanity underlying the whole thing that’s bothered me from the beginning.

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An arm with a tattoo: "I was made for the library, not the classroom."

Crowds vs. Gatekeepers: Not a Zero-Sum Game

Mediocrity by mercurialn
Mediocrity by mercurialn

“It’s bullshit! Crowds have terrible taste… If you let the people decide, then nothing truly adventurous ever gets out. And that’s a problem.”

–Christopher R. Weingarten (@1000TimesYes), #140Conf

Speaking at the 140 Characters Conference — a brazenly opportunistic affair best described as “a meeting of Twitter Early Adopters Anonymous” and the “biggest circle jerk of nothingness” — Weingarten’s rant has been called elitist by some, but it reiterated a point I’ve been harping on for a while now: the “wisdom of the crowds” is overrated.

The mythical “crowds” give us the bland mediocrity that dominates the bestseller lists in books and music, Hollywood’s Box Office and Nielsen’s TV ratings, at local poetry slams and on the crowded shelves of bodegas across the country! Of course, the flip side of that argument is that in every one of those examples, there’s a gatekeeper involved — a publisher, producer, writer, curator, marketer or buyer — giving the crowd what [they think] they want.

Times are changing and appealing to mediocrity isn’t quite as profitable as it used to be; the over-leveraged, over-extended, value-extracting publishers that have thrived on it for years are in trouble because they’re simply too big to change direction. Most of them will be gone or unrecognizably splintered in the next 5-10 years, and good riddance!

Make no mistake about it, however, you are committing an act of rebellion with every new channel you support. The record labels and major networks are starting to realize they cannot make money anymore. Soon they will realize the nagging truth that some of us have been shouting from the town square for years: The artists and the fans no longer need them… YOU are my record label.

–Matthew Ebel, You Are The Revolution

Hyperbole aside, Ebel’s point is a valid one. As has been noted ad nauseum lately, the Internet has leveled the playing field, theoretically enabling everyone to be a publisher, a marketer, a critic and a consumer. The democratization of the gatekeeper’s role hasn’t led to the increased creation nor consumption of quality content, though; quite the opposite, actually.

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Photo by Eugenio Mazzone on Unsplash

Tone Deaf Publishers Need Savvy Writers

In response to a question about lessons they'd learned from the failure of a book to sell as well as expected — something that was acknowledged several times as being the norm not the exception — one offered an example of an unnamed book that the stars had seemingly all aligned for: it was a great book the editor loved, that their publisher believed was going to be a hit, that got great reviews from all of the major mainstream outlets... and it flopped. In the final bit of unacknowledged irony, one of them briefly noted that examples of successful self-publishing were rare and magical.

Continue ReadingTone Deaf Publishers Need Savvy Writers
An arm with a tattoo: "I was made for the library, not the classroom."

Building and Curating Your Community, Part I

Solitary Drinker in the Revolution Lounge by Bill Gracey
Solitary Drinker in the Revolution Lounge by Bill Gracey

With all of the negative news of late about the collapse of the publishing industry and the “death of print”, combined with the report that Captain America, Chesley Sullenberger, “scored a $3.2 million two-book deal with HarperCollins’ William Morrow imprint” for a memoir and a book of inspirational poetry, one might understandably think that jumping into the publishing game right now would be like investing in Ruth Alpern’s new hedge fund based on the advice of Jim Cramer, no?

Actually, no; not at all.

While the major publishing houses continue their suicidal death spiral, and being a mid-list author or aspiring newbie at one of them is less appealing than it’s ever been, this is arguably the proverbial moment of opportunity in a time of crisis for indie authors and publishers.

As I’ve noted previously, self-publishing is becoming an increasingly viable option for non-fiction writers and poets, as well as for ambitious genre fiction writers who understand that, no matter who their publisher is, they’re going to have to bust their ass to market their book and hand-sell it to as many people as possible, one copy at a time, in person and online. These savvy authors know that they have to build a platform for themselves over time — something almost every major publisher requires these days — and know how to use it, attracting a loyal tribe and continually nurturing it.

This exact same opportunity exists for indie publishers who can identify an under-served genre or topic of interest, carve themselves a niche and build a platform around it, and produce quality content that attracts a following that they can then nurture into a passionate community, or tribe.

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An arm with a tattoo: "I was made for the library, not the classroom."

Your Entitlement Slip is Showing

Stop Whining by ChrisB in SEA

Among the most tiresome memes dominating the publishing world right now — memes that I’ve admittedly contributed to at times — the worst are the self-righteous rants about self-publishing, Amazon, and the long-rumored death of print.

There are the writers who think their publishers should be doing more for them while smugly looking down their noses at the writers willing to do it all for themselves; and the passionate-to-a-fault DIYers who feel the need to answer every single ill-considered critique with defensive point-by-point rebuttals.

There’s the indie publishers and bookstores who complain about Amazon’s success while having no real online presence of their own to speak of, nor the good sense to leverage their respective strengths and develop their own niche communities around the two things Amazon will never be able to compete with: content and relationships.

And, of course, there’s the much belabored death of print, an arguably self-inflicted wound that’s far from lethal, unless whining and navel-gazing continue to be the priority.

Blame it on the state of the economy and the debatable bailouts of mismanaged, seemingly undeserving companies and/or homeowners, but underneath it all there is an overwhelming sense of entitlement, a belief that someone — publishers, writers, readers, the Internet itself — owes them something and their current plight is someone else’s fault.

My short response: STFU and GBTW.

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An arm with a tattoo: "I was made for the library, not the classroom."

Rise of the Publetariat

If you're a self-published author or independent micro-press, these are very interesting times we're living in as Amazon officially announced the new Kindle, major publishing companies are in meltdown mode, and the entire industry is scrambling to figure out what's next. While following the Tools of Change Conference on Twitter, I came across an intriguing tweet from @indieauthor: #TOC Publetariat.com "outed" in Rise of Ebooks panel - can't stuff the genie back in the bottle, so I'm going w/ it: www.publetariat.com Cool name, and intrigued by the alleged "outing", I clicked through to find a website that aims to fill what, to my knowledge,…

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