The Publishing Crossroads: Is Self-Publishing or Traditional the Path for You?
Choosing a publishing option doesn't have to feel chaotic when you're armed with the right information.
Demystifying the book publishing industry is a bit like changing the tires on a moving car. It’s adapting quickly, and unless you’re paying close attention and have industry experience, it’s easy to feel “run over” by all the options.
This post will attempt to demystify the difference between traditional publishing and self-publishing.
Traditional Publishing—What It Includes, and What to Watch Out For
Authors often think they prefer this option. Having a publisher choose your manuscript seems legitimate—and it is. Their backing builds credibility into your ideas and writing. But what does a publisher actually do for you?
This is where it gets a little dicey. First, traditional publishing houses vary wildly. You’ve probably heard of the “big five,” which includes Hatchette Book Group, HarperCollins, Macmillan Publishers, Penguin Random House, and Simon & Schuster. While they’re known for launching bestsellers, they’re the outliers and often difficult (but not impossible) to crack into. You’ll need an agent, which is a whole other process. And you’ll need a robust book proposal—proving that it’s worth risking their investment. (Stay tuned for a future post on what a proposal includes.)
Many options exist outside of the big five. Some offer niche publishing and hands-on support, which is great when your book fits neatly into their sweet spot. Others do the very basics to turn your manuscript into a book for sale.
And then there’s another category that often troubles me: hybrid publishers. A few offer a legitimate “pay to play” setup wherein you receive a quality service and product. But far too many significantly overcharge for low quality work—often preying on authors’ lack of knowledge. (Please stay tuned for an upcoming guest post on the warning signs for hybrid publishing.)
All traditional publishers should offer the following five services. If they don’t, it’s time to ask yourself if you’re talking to a traditional (and legitimate) publisher:
1. An advance, or very minimally, no charge for publishing. If a publisher tries to charge you, they’re not a traditional publisher (although some traditional publishers now offer self-publishing or hybrid divisions, often for a high price to leverage on their name). Advances can vary wildly in amount—from zero to a substantial number. This is their anticipated conservative estimate of what they think you’ll sell, offered up front as enticement and payment for your book. You won’t see another dime of royalties until you “sell through” that amount. This is why I don’t put too much weight on the dollar figure of an advance—because if you sell well, your book will eventually earn you that return.
2. Editing—typically three rounds. Most traditional publishers will engage in one round of developmental editing, wherein you’ll get high-level feedback; then copyediting, where the manuscript is corrected and streamlined while ensuring compliance to Chicago Manual of Style; and finally proofreading, which corrects errors. The quality of editing—especially developmental—can vary wildly. Over the years, I’ve also seen editing support decline, which is why many authors now hire a freelance editor before sending pursuing a publisher.
3. Interior layout and cover design. These are two different things, but both are covered by a publisher. You will have input into this, by the way (some authors fear they won’t).
4. Distribution. All publishers will assign your book an ISBN (one for each version, including e-book), list you on the major online retailers (Amazon, Barnes & Noble, etc.), and set you up for distribution (through Ingram) so bookstores and libraries can purchase your book. This doesn’t mean bookstores will purchase, but the infrastructure is there so they can.
5. Marketing. This can vary wildly from almost no marketing, to a fair bit. Most new authors, unless you’re a known name, don’t get much—and that surprises many I work with. Any decent publisher should have some consumer trade lists they market to—which may include past customers, academic professors, etc. They may also ask for your contacts so they can reach out. If you have speaking events, they should help you with logistics of promoting your book there. Most publishers don’t pursue much press for first-time authors, although they’ll often support your own publicity efforts.
Self-Publishing—Why It’s an Increasingly Good Option
You may be thinking, “Okay, sign me up!” for traditional publishing! Self-publishing may sound too unprofessional by comparison, and it certainly can be if done poorly. But what many authors don’t know is that done right, self-publishing can be just as professional—and can come with big advantages. Here are five reasons why self-publishing—often called “indie” publishing (for “independent”)—might be the right choice for you:
1. You’ll save time. With traditional publishing, you’ll spend time writing a proposal and pitching it to agents or publishers. Once you (maybe) get an offer, it’s often another year before your book comes out. If you self-publish, you control the timeline. You could publish next week, in theory (although I don’t recommend rushing it!).
2. You may save money. Traditional publishing can add up if you’re paying for help in preparing a proposal (which is often a big undertaking). Then there’s no guarantee you’ll get an offer. And if you do, you’ll share your profit with the publisher (and an agent if you have one). Self-publishing costs up front (in editing, layout, cover design, and marketing if you get help), but then you own the outcome—and all royalties.
3. You’ll retain control. When you’re the publisher, you control what’s printed. A client recently got a book offer from the American Pediatric Association, with one caveat: She must remove all reference to her father. She wrote the book because her father, a physician, had died by suicide, and she wanted to warn medical students and address their mental health. She politely declined the offer. Many memoirs I’ve seen contain an element of “self-help” mixed in, and similarly, publishers don’t always seem receptive to this. They want books that are easy to categorize and market—and what they’re looking for shifts with news cycles, market needs, whether they’ve recently published a similar book, and more.
4. Your book can be just as professional. You may think you need to sacrifice quality when self-publishing, but you don’t. With highly proficient editors, designers, and marketers now readily accessible, this is the best time in history to indie publish. At Spiritus Books, we aim to make a book look like it was published by the best traditional publishers—and you should too. In addition, the setup on Amazon and Ingram, while a little complex, is completely accessible—and free to do (although we often recommend getting help to make sure you tick all the right boxes to optimize your setup). As a veteran author and publishing consultant told me, “Authors can now essentially do everything a publisher can do—and keep the profit.”
5. Flexibility in printing for speakers. If you retain the rights to your book, you could choose to print a large quantity for a speaking event, reducing your cost per book and selling them at retail in the back of the room. Audience members will want a copy after they hear your great speech! You could also print a limited run customized for a client—such as with a foreword by their CEO.
So how do you go about self-publishing? That’s the subject for another post, but meanwhile trust us that it’s very attainable. Reach out if you’re interested in learning more!
Happy writing!
