Why the Demise of Traditional Publishing is the Best Outcome for Authors

Saw this piece on Reddit’s small but worth checking out r/books section, it argues that internet publishing will ultimately be a huge boon to authors:

Publishing has always been a notoriously fickle business, Harry Potter was rejected by nine publishers, A Time to Kill​ by twenty-six. The Diary of Anne Frank​ was labeled “very dull,” and “a dreary record of typical family bickering, petty annoyances and adolescent emotions.” George Orwell​ was told Animal Farm​ would never sell because “it is impossible to sell animal stories in the U.S.”

Unsurprisingly it’s written by someone who has an entire history book up online for free, but makes some interesting points.

So will the death of traditional publishing be the beginning of something even better for writers?

Not for *me *it won’t. I write biographies–with photos in 'em–that do not lend themselves well to eBooks. And I have already seen my residuals drop. I get 10% of gross for my books, which means I get a lot less for an eBook that “rents” for a couple of bucks than I do for a book that *sells *for $25. If the tide turns much further, I will have to give up writing, as my income from my books will fall so badly.

The death of traditional publishing will be a disaster for writers. Eve has already pointed out the problems that electronic publishing is causing authors. It will get even worse.

Publishers have an important role in a writer’s success. They act as gatekeepers; you know any book they publish is going to be of publishable quality.* They can publicize a book far better than you can. They can get the book into far more bookstores than you can.

And for an author to be successful, he or she needs to be paid for their work. Putting something online for free means no payment. No one has ever come up with a sensible way to replace the income from book sales; when asked about this, the proponents just give vague generalizations about nothing in particular.

The issue with rejection is a red herring. Good books have been rejected in the past, but the the rejection can be for many reasons that have nothing to do with the publishing industry. And a publisher might reject a perfectly publishable book for reasons that have nothing to do with its quality; you just keep submitting until you find someone who is willing to buy it.

Yes, it’s hard to get published, but that’s because you have to be better than 90% of the other authors out there to do so. Just because you write 70,000 words doesn’t mean that anyone wants to read them. 90% of authors just don’t write anything well enough for anyone to want to read them**. Bypassing the publishers won’t change that.

Self-publishing never worked in the past**. Why should it work now? How is the new model any different from going to Vantage Press 30 years ago?

It’s good for the author in the sense that their egos won’t get hurt by rejection. But not in any sense of making money from their writing.

*Without going into the “But that book is crap” argument, the point is that, though it may be crap on the criteria you’re using, they are top-notch according to the criteria used by people who buy that type of book.

**There are some minor exceptions, but many examples given are either exaggerations our outright lies (John Grisham’s first book, for instance, was not self-published, and Edgar Rice Burroughs only self-published when he had become the most popular writer in America). Also, even the self-published books that succeeded (usually nonfiction) only became best seller when a major publisher bought them and started marketing them.

Perhaps you don’t realize how great it will be when you’re liberated from the possibility of making money from your writing.

Yep. I have a small (university) but very good publisher–they have good media contacts and get me reviewed in a lot of the major papers and magazines, both in the US and Europe. For my next book, we are talking to TCM about tie-ins, and Warner Home Video about a box set. They have good worldwide distribution and excellent production values.

Still, they have started selling my books as eBooks as well, and I can see from my returns that is very bad for me royalty-wise.

Seems like authors need to negotiate for a higher fraction of the cut from ebooks vs traditional books. While I’m sure publishers provide marketing and editing and many other services beyond the actual physical act of publishing, in the past, actually putting text on pieces of paper and distributing those pieces of paper to bookstores was a pretty non-trivial component of what they were getting money for. If they don’t need to do that for ebooks, it seems they should get a much smaller cut.

Ah, yes. I should have mentioned reviews. Try getting your self-published online book reviewed anywhere credible. (Amazon.com reviews don’t count, especially those for self-published books are usually filled with sock puppets.)

Simpatico – authors do get higher cuts for electronic books. But ebooks by traditional publishers aren’t all that different in concept than physical books. The article is talking about bypassing traditional publishers all together, which is quite different.

You’re talking in tautologies, empty of meaning. Yes, a book that has been published was first publishable. Yes, if you limit your focus to people who like the book enough to buy it, the book meets their criteria. But so what? Your argument would suggest that even if someone published a book that would only appeal to Mr Geoffery Duncan of Springfield, Pennsylvania out of the entire population of the world, because the book was considered of publishable quality and it meets Geoffery Duncan’s criteria, the system works.

Yep, again. I get 10% for hard copies and 50% for eBooks, and the eBooks still only net me a few cents each vs. a couple of dollars each for hard copies.

I’m using “publishable” in the technical sense: of a high enough quality to be published. This includes things like quality of writing, ability to tell a story and hold a reader’s interest, organization of facts, etc. A book that is poorly written and with a dull and meandering story is not up to that level.

Not all publishable books are published (which is why some successful books have long lists of previous rejections). But not everyone can produce a publishable book.

A local B&N sponsors a Small Press Author Showcase every year. Anybody from a small press, which mostly means self-published, can show up and get the spotlight on them. Plus free cookies and a free drink from the cafe. Doesn’t that sound great?

The truth is that this is a nice but meaningless stunt put on by their community relations manager. The other 364 days of the year, these people cannot get their books - and I’m talking about print books - inside of B&N. For very good reasons, B&N and all the other big box bookstores will only deal with books they can get from the major distributors. Means that they don’t have to deal with individual paperwork from thousands of “businesses” not set up as businesses. And you can’t get into a major distributor unless you publish at least 10 books and can handle the paperwork they require.

It’s true that every book and every e-book can be found in seconds online. And that’s a big so what? It just turns what the OP’s author terms “an absolute crap-shoot” into a much bigger crap-shoot. Authors now have to do all of the work of writing - AND - all of the work that publishers and bookstores used to do for them - AND - do it in a market that went from 50,000 books a year to 250,000 books a year. Thanks heaps.

Will this change benefit a certain fraction of authors? Yes, obviously, because every change always does. What people who make this idiotic argument always leave out is that the percent of people who are winners in the crap-shoot never change. (Maybe worse: maybe the absolute number of people who are winners in the crap-shoot never change.) The names get switched out but the winners and losers still break into a tiny handful and everybody else.

There is no evidence that self-publishing has greater rewards for the greater number. A close reading of the OP’s link shows that not a particle of support is given for this proposition. Gee, books that were turned down by one publisher became successes for another? That’s the huge **plus **about traditional publishing. If a self-published book fails, there is nobody else to turn it into a million-seller.

That article could have been written at any time in the last decade. If any of it were true we’d see piles of evidence about how the change has helped authors. The cold statistics say otherwise. A few authors have won the crap-shoot. Authors in fields that were already booming because of old-fashioned print publishing - romance and paranormal - are doing well in self- and e-publishing. Authors who write armloads of books have an advantage because they can give away product and still have plenty left that might be bought. Hooray. We’re back to the pulp era of quarter-penny-a-word and grind-out-sausages-as-fast-as-you-can.

That’s not victory for writers. It’s inglorious defeat.

“The Author” seems to be so focused on how publishers reject manuscripts that he’s not seeing the other side - publishers also accept manuscripts. Anyone who wants to avoid the possibility of rejection can do so easily enough. But the Demise of Traditional Publishing will eliminate the possibility of acceptance.

Mind you, teeny-weeny presses have their uses. There are three (McFarland, Scarecrow and BearManor) who specialize in show-business books. I’ve had collections of my magazine articles published through therm–they do a nice job, I get my articles between book covers to give out to friends, and expect to make no money (I get a few hundred dollars a year royalties from these). They get no advertising, reviews or distribution, but I know that going in and am happy.

I recommend “McScarecrow Manor” to writers who a) are doing subjects no major publisher will touch, as they are not marketable enough, or, b) people who can’t write very well. I have also told these people “do a website: you’ll have total control and can reedit anytime.”

So yes, self-publishing both hard-cover and eBooks has its place, but for my full-length books, I want to make a profit; it’s hard work, and research and photos are expensive!

People who self publish tend to self publish for one primary reason: their books are crap and they suck as writers. Nearly all the time (not always but nearly) if you can’t get your book published by a traditional publishing house it’s because you’re simply not a good enough writer. If your book is good it WILL find a publisher almost all the time.

Allowing readers easier access to the slush pile will only make that more obvious.

I’ve seen a lot of these arguments, starting over a decade ago. The Internet was considered new* and everyone involved in any communications format thought the unleashed possibilities were endless. In contrast, the editorial staff in the department downstairs would regularly post examples of the drivel that could be found in Vanity Press (editor-less self-published material) products. The examples showed how important a good editor (and not all editors are good or even deserve their position) is for screening out the hopeful writers with
a) ideas that should never have been exhumed
b) spelling and/or grammar below grade school level
c) a complete lack of coherency in their thoughts
d) a complete lack of logic in their arguments
e) Any or all of the above, plus worse.

But The Internet was hailed by so many as the final step in becoming a paperless society; the end of printed newspapers, magazines, and books in favor of reading things off the monitor. Amazon’s Kindle and its copycats were hailed as the nail in the printer’s coffin. Neither is true, they’re just additional venues through which people can acquire content.

And while the flourishing of venues should have opened up more jobs for quality editors, much in the way the advent of film and television led to more work for Broadway and Vaudeville actors and writers, the lack of quality editors to fill the roles (or the excessive thrift of companies in not creating such roles in their structure) basically led to society accepting substandard quality as par-for-the-course. [Yes, I know that’s a self-contradictory phrase.]

How many times have you gone to a website, read a blog, or even perused a message-board to see poor spelling, horrible grammar, and a zillion other examples of people failing to follow the basic rUle5 uv descent writing? Whether that failure is due to a lack of knowledge or a willful disregard or oppositional defiance is irrelevant. The repeated distribution of crappy writing has led to a general acceptance of poor writing – society has lowered its standards, gaining quantity in exchange for quality – from Instant Messages all the way up to novels and treatises.

The real problem is that the majority of people, from Twits texting out of their bathrooms to Executives issuing corporate memos to Corporate Counsel filing Supreme Court briefs, are content with that. They’re content partly because they never learned better, and partly because their focus on the bottom line means volume profits are better investments than the development of quality (and commensurate pricing). The explosion of available outlets (basically infinite, since just about anybody can afford a computer and an IP registration) means there’s less competition for more ways to express oneself. That’s not necessarily a good thing, since it allows the distribution of schlock with
a) poorly developed ideas, arguments, or even thoughts
b) content with horrible mechanics
c) typically some combination of the above, and worse

So, yes, traditional publishing is suffering and dying. However, that’s not good for readers or writers, it’s definitely bad for established authors, and it’s certainly not good for people within the industry.

The same, by the way, is true of the newspaper industry, the music industry, the music recording industry, the movie industry, the television feature industry, and the television news industry – but take those arguments to separate threads.

*It wasn’t. It had simply been wrested from decades of development in the echoing hallways of government/academia/military and opened to the public, triggering the dot-com boom (and bust) and providing another target that conservatives and Luddites could blame for the downfall of society (because television, transistor radios, movies, comic books, telephones, and Gutenberg’s press were only preparatory steps…)

The high rejection rates simply tell us that the people submitting the works were submitting to the wrong publishers. Even the Orwell example is worthless; it tells us George or the guy receiving the material was thinking it was only animal stories.

That reinforces the need for another player in this industry that hasn’t been mentioned: Agents.

Agents are supposed to preview the content and, if they think it’s good enough to warrant consideration, submit the work to the publisher whose market will be most receptive to the content. There’s a lot of genres and a lot of niche markets out there. It’s not the writer’s job to know all the markets and the days of publishing in all genre are long gone. It’s the agent’s job to know many (if not all) markets and have a deep knowledge of who the players are in those markets. Applying that knowledge properly reduces the number of rejections – sometimes down to zero.

G!

Please sir or madam
won’t you read my book?
It took me years to write
won’t you take a look?
– Lennon & McCartney (The Beatles: Paperback Writer)

“Why the hell did you send this to Brittanica Encyclopedia Inc?”
– BEI Editor :smiley:

First, there is a big difference between a book that is self-published and an e-book distributed by a reputable publisher. Sure there are money issues, but publishers filter for us, and that is a very valuable service.

For every great classic rejected by all publishers, there are probably 1,000 utter pieces of crap kept off bookstore shelves by the same mechanism. A guy in our critique group self-published a memoir. I learned two things from his experience. First, though he was excellent at marketing it, and even got on the radio in his fairly large home town, he still didn’t make any money. (It was a paperback, not an e-book.) Second, after a round of critiques of the book, he came to the realization that it was not very good and he would have done better to have it rejected a few places and then improve it.

I’ve had a similar experience to Exapno Mapcase. First, this guy’s book was not allowed on the shelves, despite the fact that the group was held at a B&N and it was run by the community relations director. Second, they had authors’ nights. We could tell that some of the people on the panel were self-published, and looking at their books revealed them to be laughably bad.
Even books that don’t get actively marketed by publishers do show up on their lists, at least.
I suppose e-books will take over, though I have enough unread real books to last me the rest of my life. But it will be traditional publishing just as publishing paperbacks was still traditional publishing.

BTW, at one point B&N owned a self-publishing house. I know this because the community relations director proposed that the critique group publish one of these, which we all agreed to because it would be fun, not because we thought it was really being published. It died before anything could happen, which says something about the business case for self-publishing - not good.

Ultimately, many writers think that solely by the virtue of the fact they have written 90,000 words of narrative, it deserves to be published. And the reason its not published has nothing to do with the fact the work is lacking in quality – it’s the big publishers who are blind to the writer’s talent.

Writing is like any other sport. Some people can make a living playing baseball, and a few of them can make a very good living at it. But you wouldn’t expect someone to pick up a bat and glove and show up at the spring training expecting to get a job. Even if that person was the star of his high school team, it isn’t going to happen.

The analogy is imperfect, but the point is that you need both talent and hard work to succeed at either. It’s easier for a new writer to break in, even with their first novel, but you’re still competing with millions of others.

Asimov’s once had a rejection letter that said they got 400 stories a month and bought ten. It’s the same with major publishers. You could be story #387 and still not get published.

Oh, and both self-publishing and small press can work out fine for you – especially if you have something unique to sell.

My brother wrote a book about Harmony Guitars, which he sells at his store and also at guitar shows. He sold out his first print run and is still selling the book. But that’s the type of book that can succeed via self-publishing: a nonfiction book about a subject that hasn’t been covered elsewhere. If you owned a Harmony guitar, or you are interested in the history of musical instruments, you might buy the book, especially since there’s nothing else. But you can’t do that with a novel, since there are thousands of novels by commercial publishers that readers can trust to be worth their while instead of gambling on yours.