Yes. Self-publishing is quality storytelling.
In Prime We Trust.
Happy Sunday!
Today, I want to discuss the state of literary publishing as a whole. This post is a product of my experience as a self-published author who runs a production house and publishing imprint (Process Protocol) but also as an avid reader who is interested in books of all genres and all distribution paths.
Moreover, I happen to be familiar with the querying process (pitching your manuscript to literary agents and sometimes, directly to big publishers) in traditional publishing.
Before we start…
Traditional publishing vs. Self-publishing.
What is traditional publishing? The more formal approach to getting your book out. An established publisher (often based in New York City) will enter a legal agreement with you to edit, format, design, print, market and distribute your book to the masses. You will receive a percentage of the sales (royalties).
What about self-publishing? Becoming more and more popular with the emergence of online platforms (Barnes and Noble Press, IngramSpark, Amazon…). You are in charge of the entire process and the costs of cover design, editing, formatting, marketing, printing and distribution are assumed by you or your business entity.
DISCLAIMER: this is not an article on the pros and cons of traditional publishing and self-publishing. There are plenty of great ones out there (check this one from Masterclass). I wanted to use this opportunity to address a longtime stigma attached to self-publishing (what I do).
Often, the Big Five/5 (the five biggest publishers in the U.S.) and some of their clients (authors) use their monopoly and a five-billion dollar machine to not only restrict access to (prime) advertisement slots and press coverage from mainstream outlets but also to question the quality of self-published stories and pass on those fears to the masses of readers who surrendered to peer pressure (through Goodreads, TikTok etc…).
For years (and still counting), it was/is common belief that because the gatekeepers at the big publishing companies “know better” and have a standardized quality control process, their tales were better constructed.
But behind the fancy cover designs, ads taglines and a tentacular marketing monster, the evidence points to the contrary.
Why? Well, first, I’d like to recognize that self-publishing, if treated as a hobby and not a professional undertaking, can have a detrimental effect on the overall quality of a product. There are plenty of authors out there who self-publish simply to exist or as an exercise in vanity (or a combination of both), without a proper quality control process. They damage our reputation, which was already (wrongly) attacked by the big traditional publishers and some of their authors: the ones with an inflated ego.
Now, let’s set that aside.
So…why? Newsflash! Many self-published stories competing with their segments’ juggernauts have proven significantly better, more layered, complex and polished than their traditional counterparts. And no, market volume and commercial sales are not necessarily indicators of basic and excitement quality (check this here).
Examples such as Still Alice by Lisa Genova (neuroscience), The Wake by Paul Kingsnorth (experimental fiction), Double Persephone by Margaret Atwood (poetry dealing with feminism and duality as a central thread) and many more show that relevance, substance, innovation and timelessness can be shared by publishing methods.
Yes! Self-publishing is quality storytelling.
Since I’m a bit data-driven but mostly process-driven (must be my corporate background in business process improvement. Ugh corporate is evil btw), let me explain why we see a decline in quality with those who bad-mouthed us for so long (jokes on you).
Serious self-published authors often come from traditional publishing and/or have a precise quality control process in place. Mine is as follows: research (3 months), mapping and outline (1 month), revising of mapping and outline (1-2 weeks), creation of a story bible (1 month), first two drafts (2 months), developmental editing (1 month), three rounds of revision (2 months), proofreading and copy editing (1 month), two more drafts of revision and polishing (1 month), polishing (1 month). The thing is… not only do we ALSO have a quality control process in place but we are free to conduct ours as we see fit. What does that mean? We set our own deadlines and they are not tied to a publisher’s fiscal agenda but to the final quality of the book. See where I’m going? Better quality control. I noticed more typos and errors in traditionally published books selling hundreds of thousands every year. Support your independent authors as we work hard to get you the best possible product, and invest our own money doing so.
Creative control. Big publishers often lean on either end of the political spectrum. They are (for the most part) ultra-conservative or ultra-progressive. There are also things called “market drivers”: data showing trends in the current readership’s habits and behavioral patterns. Traditional authors write to genre and to market, which means they are often boxed into a set of parameters to sell, and rarely experiment new ways to tell stories and break patterns. And this comes directly from the in-house editors and advisors in those shiny offices in NYC and LA. At this point, characterization, world-building, dialogues, plot, pacing, dynamics are secondary. Their clients become puppets who have to operate changes on their manuscript to fit whatever political agenda their publishing imprint carries or follow whatever trend is driving the market. Us, indie authors, can be political as well, but as far as I’m concerned, the story will always matter most. And it’s insulting to our readers to believe that they cannot handle new approaches and path-breaking narrative structures. Ever heard of saturation? Yes, everything is a business, but to what extent?
Cover design. I work with a professional cover designer. Traditionally published authors have very little control over their cover design (they can provide input and make certain decisions but it’s quite restrictive). Once more, in their case, it is geared towards fitting the genre of their book and supposed etiquettes associated with it (here are our market drivers). I don’t have that limitation. I can create a packaging that’s going to convey a particular message in line with my brand while breaking the codes. Innovation is an important driver in art. Same applies here.
Ownership and royalties. On average, a self-published author gets 35 to 70% on the sales of his/her publication. A traditionally published author gets around 5-25% depending on the format. More importantly, we own the publishing AND creative rights to our books, FOREVER. That means we can easily operate changes, create deluxe or second editions and reinvest our proceeds towards the next project to produce the next big thing!
Here’s why I decided to share this with you today.
A few weeks ago, I purchased a traditionally published book from a New York Times Bestseller. I was excited because the story takes place in Africa (one of my cultures) and deals with fantastic beasts and myths.
I read the reviews before purchasing it and they were positive, overall. Very few had specific feedback but I trusted the consensus. Most major outlets also celebrated the piece as a “tour-de-force in world-building” and an “action-packed adventure of unparalleled heights”. WOW, THE HYPE.
I finished this book a few days ago, after reading it WITH NO EXPECTATIONS but the prospect of a great story.
I was quite disappointed after closing on the last sentence. The story lacked finesse in characterization (young adults with the emotional intelligence of a five-year-old child), the pacing was rushed and inconsistent, the depiction of the African culture sometimes fed the stereotypes cultivated by an American author who never truly experienced or researched the subject, the world-building lacked precision and details and the plot twists were overshadowed by the MANY typos and butchered narrative structure.
Of course, this is subjective. But it’s a review based on technical criteria, not a personal vendetta against anyone in particular. I’m actually happy this author found success! But still, it is a reflection of where we currently stand. I reached out to others (without sharing my opinion) and received twenty-three messages from readers who had the same experience with this publication.
This is not the only occurrence, by the way.
Pick up a self-published book with rave reviews and a traditionally published book that was celebrated, both from the same genre, and see for yourself!
At the end, what truly matters is the celebration of the hard-working and talented storytellers of this era, regardless of whether they publish from their small office or from a fancy building on Park Ave. Don’t let the gatekeepers tell you otherwise.
There is beauty everywhere.
Andre Soares
“It's splendid to be a great writer, to put men into the frying pan of your imagination and make them pop like chestnuts.”
- Gustave Flaubert
