by Julie Chibbaro
After hosting a number of traditionally published authors, we recently had a self-published writer as a guest at our Get Lit Beacon literary salon. Many writers in the audience were curious about the self-publishing process, and how it might affect their chances of eventually having their writing traditionally published.
I asked agent Linda Pratt to answer a few questions on her perspective regarding the benefits and setbacks of self-publishing, from her point of view as a 20-year veteran of the publishing business.
GLB: When does self-publishing work well for a writer?
Linda: Self-publishing has created a more democratic space to connect with potential readers similarly to how MySpace transformed the music industry in allowing musicians to offer content widely without being attached to a label. I draw the analogy because self-publishing has the potential to work well for authors whose models are comparable to bands. What I mean is bands play gigs to audiences who have come specifically to hear them. Their business model offers them a consistent means to connect with a target audience who are likely to purchase their recordings. Self-publishing can be the same for authors who have businesses that offer them this kind of consistent opportunity, i.e. life coaches, chefs who offer cooking classes, yoga instructors who run retreats, etc. It can also work for books about a specific place or event that may be seen as having too limited a market for a traditional publisher to acquire. For example, if an author wrote a book about some aspect of Beacon, and that author was able to connect with local newspapers and get enough shops on Main Street to carry the book, their goals for the book could potentially be met through self-publishing vs. not pursuing publication at all.
GLB: As an agent, what have you seen regarding self-published authors?
Linda: Most queries I receive from authors who’ve self-published start with “I wanted to see how the book would be received” or some version of that. For us in traditional publishing, this translates as it didn’t go as well as hoped so now the author is interested in the resources offered by a publisher, which is fair. But essentially the pitch to the publisher at this stage is a failed experiment, which all would agree isn’t the strongest sales tool. There is also a perception that the author may not be as open or committed to accepting editorial feedback and other publishing considerations.
That said, self-publishing can be a valid form of bringing books to readers. Just be clear about what only some of the costs include:
• the cost of an editor and/or a copyeditor
• the cost of a designer for cover and interior
• the cost to offer it on the platform of choice
• the cost of having an industry periodical review your book
• the cost of a publicist or publicity.
Ask yourself what your short term and long term goals are:
• Why are you publishing this work?
• Is this the one book you have in you, or is your goal to ultimately publish traditionally?
• How many copies do you realistically hope to sell?
• What are your financial expectations?
• How equipped are you to promote your work?
I suggest you research all aspects of both self-publishing and traditional publishing before leaping.
GLB: How has publishing changed over your time as an agent?
Linda: I have been a literary agent for the past 20 years. The conglomeratization of publishing houses is probably the most significant change I’ve seen over that time period. While there are still individual imprints within many houses, there are only 5 major publishers at present, which equals to fewer competitors among publishers so fewer alternatives for authors. However, I’ve also seen a rise in smaller independent publishers.
The other major change has been the importance of an author’s sales track record. When I started in publishing, once an author connected with an editor at a house, it was pretty much understood that the author had found a home not only for that first work, but everything that would come thereafter. There was a loyalty on both sides. Now, an author’s sales track can make them ripe for poaching by other houses if they have very high sales, or on the opposite end, can make it necessary for authors to face the challenge of finding other houses.
Good luck to everyone on their literary journey!