If in music, unsigned can equal indie, and, in car sales, used is now preowned, then what will happen with the term self-published?
Because of the parallel life that I lead as an “unsigned” recording artist, I often run smack dab into crossover experiences that literary writers have. I think that may also cause me to respond in a more careful way when I review their work as a book editor. I feel blessed being able to see both sides of the journey.
Sometimes I wonder why so many writers appear desperate to be published by a publishing company, when there are just so many other options to getting their message out to the world. Traditional publishing is changing in such a big way these days, and in ways so similar to how the music recording industry changed. From fixed media like tapes and CDs to digital media transferers such as Napster, Rhapsody, iTunes, and MP3s streaming from the artist’s Web sites—from print books to e-books (and just the other day I saw an author offering readers a free read of their book “streaming” on their Web site), how can we except the big frown from “them” about the validity of self-publishing?
Just as consumers think that somehow they are of a special breed when they find a new indie recording artist, readers are going to begin to find it very cool to discover a new “indie” writer. However, quality makes all the difference. Put some money, time, strategy, research, networking, and hard work behind it and who will know the difference between a self-pub and traditionally pubbed book on the shelf or on iBooks?
Come to think of it, that may be why aspiring recording artists and literary writers are looking for record companies or traditional publishers to discover them—they don’t want to put in the work. The irony of it all is that, even if you do land a recording or publishing contract, you will still have to put in the work to build your brand and build a following. The difference in the end is who earns the larger return—you, if you self-pub or go indie; or, the sponsoring company.
Making Your Way
The same way I find myself “making my way in the world today” (I used to love that show Cheers) as a singer is the same way an author can make their way—and it will take everything you’ve got. There are certain positions I need to fill (or have filled) in order to have my music reach the ears of my audience. These are the same people a writer would need to employ in order to have their book reach their intended audience. I think the only drawback to actually being a “self-published” author is the stigma. But what did it look like for unsigned recording artists a decade or more ago when they sold their music out of their car trunks? Not so hot.
But with new technological advances, digital publishing companies, iBooks and Amazon self-pub options, and the services of professional free agents such as editors, designers, Web masters, publicists, and so on, why do you really need a publishing company? You can be “hot” without them, if you work it.
I’ve figured that as a musician, I actually don’t have to sit around and wait for a record company to discover me. If it’s about the money, I’m obviously not very smart because 1) advances are not given out like candy anymore, 2) if I do get an advance everything I earn (royalties) goes first toward paying back my advance, and 3) the work that I slaved over isn’t even mine—EVER! The recording company maintains the ownership and all the rights to the music I create under contract with them. This is somewhat different in book publishing, depending on how you work your contract. Some allow you to have your rights back after so many years.
What You’ll Need
I mentioned a bit earlier that there are some key people I need in my corner to make a successful run at being an indie artist. I want to share those with you, because if you are a writer you may find that these same people could make your dreams come true faster than waiting on an “accept” letter from your dream publisher—and you may already know them.
Key Players for a Musician*
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Heavy Hitters for a Writer
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Manager (to represent me and help me navigate the music industry)
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Literary agent (to represent you and help you navigate the book market)
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Booker (for getting me shows, gigs, appearances)
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Booker (for speaking events and signings)
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Distributor (getting the music out in the desired channels)
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Distributor (help for getting your book in stores)
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Web designer (artist web page)
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Web designer (author web page)
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Web master (online store and other Web necessities)
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Web master (online store and other Web necessities)
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Graphic artist (logos, CD covers, press kit, posters, etc.)
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Graphic artist (book cover design, one sheet design, press kit, brochures, business cards)
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Publicist (press releases, media contacts, promotion)
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Publicist (press releases, media contacts, promotion)
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Photographer
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Photographer
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Recording producer (CD concept, song selection, booking musicians and studio time, song design and arrangement)
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Book editor (developmental editing/outlining)
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Recording engineer (to run recording studio sessions, mixing and mastering for flow and consistency of sound levels within and between songs)
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Book editor (substantive, content, line editing, proofreading)
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TV/film camera crew (music videos, YouTube videos, footage from live shows, interviews, or other appearances)
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TV/film camera crew (book trailers, YouTube videos, promo videos, footage from speaking engagements or appearances)
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TV/film editor
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TV/film editor
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Attorney
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Attorney
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Accountant
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Accountant
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You will also need to begin to use your network to help you connect with book reviewers and bloggers, conference coordinators for speaking engagements, bookstore owners for signings, radio station managers or BlogTalk radio hosts for interviews, and any other venue or resource that could help push your brand. Should you choose to buck the system and go all “indie writer” on us, you will have to do for yourself (with help) what a publisher would normally do for you. Are you up to the challenge? I’m going for it on my end.
I mentioned earlier that the only drawback to being self-published nowadays is the stigma. Is that true? Or do you think something else is involved? Does a writer really need to be published by a traditional publishing house?
What’s a cool new term we can use to change the negative stigma of self-published?
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*List “Key Players for a Musician” is adapted from Randy Chertkow and Jason Feehan’s The Indie Band Survival Guide (New York: St. Martin’s Press, 2008), 21.