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Situated ed in the edge of your cooking area or your living room, this beautiful typical appearance will certainly match your cooking area for your tasty breakfast moment. Authors now have a choice in how they publish and get their books into the hands of readers.
Traditional publishing refers to the established system of getting a book deal, which involves submission to agents over a period of time, usually a number of rejections and then (hopefully) being accepted. There are no upfront financial costs, and there’s usually some kind of advance against royalties. Literary prizes and critical acclaim are more likely through traditional publishing, and many literary prizes aren’t even open to indie authors. Another big issue is signing contracts where they take World English rights in all formats.
Once you sign a contract for your book, it essentially belongs to the publisher, and it may belong to the publisher for the life of copyright which is the life of the author plus 70 years after you die.
You should also look at the do not compete clause, because this may stop you publishing during the term of the contract under the same name, in the same world or with the same characters. These books will help you with contract terms, so spend a few dollars on these books and you will save yourself money and heartache along the way.
Most people will have a favorite book and they’ll know the name of the author, but they are unlikely to know the name of the publisher. So your publishing choice is more a question of the outcome that you want to achieve and your definition of success. I do have a book with a German publisher and I have a literary agent who is actively working on foreign rights sales – in languages other than English. Most literary prizes don’t accept indie books and most literary critics for mainstream media won’t review them.
For example, Hugh Howey sold his print rights for Wool and did a number of foreign rights deals. The important thing is that you, the creator, are empowered to choose per project how you would like to progress. I’ve used the two extreme ends of the publishing spectrum as examples but these days, there are many more options for authors.
There are new companies springing up every day – some of which are offering a good deal and some which are just sharks who may well take your money and run. Choosing a self-publishing service – by the Alliance of Independent Authors, available on all online bookstores. Check out the articles under Writing, Book Marketing or How to make a living with your writing next.
You can also listen to The Creative Penn podcast on iTunes here, or check out the backlist of over 250 episodes here.
You can also get the ebook, Successful Self-Publishing for free on all ebook stores, or if you need more help, check out my premium video course, Self-Publishing Success. The Houston Chronicle is the premier local news provider for the country's 4th largest city. Currently the nation's sixth-largest newspaper, the Houston Chronicle is a multimedia company publishing print and online products in English and Spanish that reach millions of people each month.
Many authors are now hybrids, using both forms of publishing for different projects, but hopefully, this will help you evaluate your own options.
Then the agent will submit the manuscript to publishers with usually a number of rejections and then (hopefully) a contract is signed. This is what traditional publishing excels at and what their model is primarily designed to facilitate. Editors, cover designers, formatters and (possibly) marketing help is provided by the agent and publisher as part of the contract. You don’t have to pay anyone to get a traditional publishing deal and if you are asked for money, then it is NOT a traditional publishing deal. A few years ago, I had two New York agencies interested in representing me and I went through their contracts. It used to be that there was an out of print clause, but of course, in these days of print on demand and ebooks, a book never goes out of print. For example, you might sign a three-book deal with one book coming out every year starting in a year’s time. I choose to get my books out into readers’ hands as soon as possible and take the cash sooner rather than later. There’s certainly nothing wrong with this and it’s wonderful to create books in the world for the love of creation. I work with top freelance professionals to create a quality product and this is a business for me, not just a hobby. Many authors who were in traditional publishing and are now in self-publishing talk about how painful it was to have a cover or title they hated, or to have editorial choices imposed on them that they didn’t agree with but were insisted upon.As an indie, you can work with freelancers of your choice and you can choose the ultimate look and feel of your product.
At a recent literary festival I attended, I talked to a number of traditionally published authors.

I particularly enjoy selling in countries like Burkina Faso or Namibia in sub-Saharan Africa because I went to school in Malawi (no books sold there yet, though!)Yes, these sales are a trickle right now, but in the next few years, cell phone penetration will increase and internet access will become globally pervasive. Publishing houses have an expectation of a certain number of sales, so if you’re writing a niche book on a particular type of organic tomato, for example, then you might find the market is too small for a major publisher.
These days, you’re likely to spend on professional editing before submitting to an agent anyway, or at least be spending on books and courses for writers.
It’s certainly not impossible and if you care about print distribution then look at the options with Ingram Spark. So if your definition of success is literary acclaim, you’re probably better off going the traditional route. They will make the decision by book and by particular rights, using the indie model for some things and taking traditional deals for others. Jasinda Wilder sold several new books to traditional publishers while continuing to self-publish another series. Do your due diligence and get testimonials from authors who are happy to recommend the service before you sign anything. If you make it through the process to get an agent and then a publisher, approval by these gatekeepers is usually validation that your work is good enough. Sales reps go around the stores and make it very easy for book buyers to select books they like and pay later on one invoice per publisher minus any returns. Marketing effort is usually related to how much is invested in the project, and marketing for publishing companies is usually to booksellers rather than consumers.
They’re likely to be net, so all the discounts, returns, marketing costs and overheads are taken off the total before your percentage is calculated. If you do want a traditional publishing deal, make sure you ask them what is included for marketing and make sure you get more than just inclusion in a bookstore catalogue.
One of them included a clause where the agency would receive 15% of everything I published, regardless of whether they sold the work or not, and that included self-published work because they said that they would build my author brand, so they would be responsible for my success.
You have to consider when you might get your rights back, because what if this goes really, really badly?
So, that’s four years in which you may not be allowed to publish anything else under that author name, in that world with those characters.
Publishers and publishing names and imprints only mean something to authors and those in the industry. I self-publish photo-books for my own pleasure, I helped my 9 year old niece self-publish her first book and I helped my Dad self-publish for his 65th birthday. I make a multiple six-figure income as an author entrepreneur and being an indie is a positive choice, not a last resort. Now, that can be a pro or a con depending on how the book ends up, but as an indie, you can also change it, as I have done by re-titling and re-covering my first three books. I was shocked at how insecure they were and how beaten down by the negativity of the publishing process. But once you’re ready to publish, you upload your files to Amazon, Kobo, iBooks, Draft2Digital, Smashwords and any other stores.
Of course the sales will tick up – 2 years ago, I was only selling books in the US, UK, Australia, Canada and now every month another income stream starts up. But the market size may well be enough for you to satisfy your own definition of success with smaller sales and lower income. You still obviously have to do the writing and marketing, but you also have to do the publishing.
Everyone spends money on their hobby, so whether you’re knitting or writing or mountain biking, most people are happy to spend money they never get back on something they love.However, if like me, you’re intending to make a living from this, then yes, you need to invest money in creating intellectual property assets for the business with the intention of getting it back in multiple streams of income.
Also check out the Opening Up to Indie Authors campaign (or check out this interview with Debbie Young on the topic).
This empowers the author to make decisions and choose the best possible route for each project. Below them are the A list, most of whom have been writing for many years, people like Lee Child and Nora Roberts, who are treated very well by traditional publishing and wouldn’t see any reason to move. Then it might take a year to get a publishing deal and then it will likely be from six months to two and half years before your book is launched.
A friend of mine, Polly Courtney, famously resigned from her publisher on publication day because she was marketed as chick-lit when she writes gritty novels about social issues. Royalty rates for traditional publishing will usually range between 7% and 25%, with the latter on the unusually generous end. For example, you could just sell the US and Canada rights and then self-publish in the rest of the world. You just upload another file.The start-up mentality that mistakes are how we learn and ‘failure’ is just a step along the way makes this easier for indies. It’s clear that you need to sell far fewer books in order to make the same amount of money with self-publishing. This is for books in English by the way – we’re so lucky that English is the most international language.Many traditionally published authors have sold World English rights for all formats and yet have barely sold outside the usual country markets because their books aren’t even available in most places in the world.

You can also price as you like, as chances are that your book will appeal to a very particular reader who might pay higher prices. The power balance is reversed and the empowered indie can get much better deals than a first-time author with no evidence of sales. You have to find an editor (list here) and a cover designer (list here) and work with them, decide on the title, get your work formatted into ebook, print and any other format you want and find suitable professionals to help.This isn’t such a big deal as we all share with each other online and you can join The Alliance of Independent Authors which vets companies. But you’re much more likely to get bookstore distribution with a traditional publisher, as that’s essentially their business model and has been for a long time. I have a German language deal with a traditional publisher and a literary agent who is handling other sales.
If your definition of success includes a traditional deal because of these reasons, then nothing else will do! Increasingly, there are now deals where the author will take higher royalties and a smaller advance, or no advance at all. Yes, there’s a chance of becoming a writer of that stature through traditional publishing.
So it’s a very, very slow process, which is crazy in a world where you can publish on Amazon, and your book can be on sale within four hours and then you can be paid 60 days later.
But this reinvention practice is also common in the publishing industry and older books are revamped all the time.
But you do have to decide on your definition of success and understand that you need to run all aspects of the business if you want to go the pro indie route. Remember also that the advance is against royalties, which are usually 7-25% of net book price.
You may also get an editor you don’t agree with, especially as many of the more experienced editors move up in the company or are working freelance for more money. Many publishers take audio rights as part of a contract and then they don’t actually end up recording it. If you’re doing print on demand, you can get that up within 24 hours if you approve the formatting online. Or the incredible success of The Martian, which started off as a self-published ebook, then went into audio and then became a movie and worldwide phenomenon. For many people, this is a negative, because they just don’t have the time to do everything or they don’t enjoy doing it. My personal choice is to use Print on Demand through Createspace, so my print books are available on pretty much all online bookstores.
So if you get an advance of $10,000, you then have to earn more than $10,000 out of your royalty rate on book sales before you get any more money. Compare that to the empowerment of the indie author who can learn new skills, work with professionals, make mistakes and learn from them, earn money directly and interact with customers.
Or, you can order a copy and it might take a couple of weeks, but essentially, it’s incredibly quick to get your book up for sale.
You can’t guarantee that you’re going to make as many sales as you would’ve done with a traditional publisher, or indeed, any sales. And let’s not forget 50 Shades of Grey which started out as self-published fan-fic before selling 65 million copies.
Either keep audio rights or specify a length of time the publisher has to exploit them before the rights revert to you. This certainly suits my personality, as once I’m done with a book, I want it out there and selling! You can self-publish in countries where you haven’t sold the rights, so why not get on with it! So if you want a traditional deal, skip the slush pile and serve your apprenticeship as an indie. I love all aspects of what I do – from idea generation to creating words on the page, to the technical side of things and everything in between. Royalty reports may come every six months for a specific period of sales and many authors report how difficult they are to understand.
The positive energy involved in being an indie can propel you much further, much faster than waiting in line for your turn. An author can’t build a business on luck – but they can learn about marketing, and authors have to do that these days, regardless of how they publish. They may also not tally with the amount of money that you get in your bank account, so authors who are traditionally published can’t really do a cash flow forecast for future income.

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