I was recently invited by Editors Toronto and the Toronto chapter of PWAC to participate in a panel (co-sponsored and hosted by UofT’s Creative Writing Program) exploring the current state of self-publishing and the publishing industry in general. I was one of four professionals whose work has involved all facets of the industry from POD, hybrid models, and ebooks to crowdfunding and writing communities.
The four speakers included:
Meghan Behse, the president of PubLaunch Inc., a new online marketplace and crowdfunding platform where writers, readers, and publishing professionals join forces to get books published. In her role as publisher, she steered Iguana through a new world of digital and print-on-demand publishing while experimenting with unique royalty arrangements and funding models, including crowdfunding. Behse talked about how PubLaunch is using emerging technologies to help overcome the obstacles writers continue to face in the self-publishing industry.
Nina Munteanu, an experienced editor of traditionally published and self-published books, and an award-winning author of eight novels, including Darwin’s Paradox and The Splintered Universe Trilogy. A frequent contributor to Amazing Stories and the current editor of Europa SF, Munteanu teaches writing at George Brown College and the University of Toronto and has also published short stories, essays, and non-fiction books. Her latest book is Water Is…The Meaning of Water, a scientific study and personal journey as limnologist, mother, teacher, and environmentalist. Munteanu provided an overview of the industry—including use and misuse of terms—then spoke about evolving professional standards in self-publishing, and what these changes mean for writers and editors.
Stephanie Fysh, a Toronto-based freelance editor of independent authors in a variety of genres, including fantasy, science fiction, YA, romance, and erotica, and the former chair of Ryerson University’s Publishing program. She works with hybrid publishers on projects that range from harrowing memoirs to comedy, and still enjoys a textbook project that she can learn something from. Using her own experience as example, she talked about what self-publishing authors look for in an editor, and how that differs from the roles built into traditional or hybrid publishing.
Mark Leslie Lefebvre, the author of more than a dozen traditionally published and self-published books, a professional speaker, a digital publishing advocate, and a bookseller with more than a quarter century of experience. Lefebvre explained what prompted him to self-publish “ten years before any self-respecting writer would admit to such a foul thing.” And he’ll tackle the big-picture questions: “What is currently wrong with self-publishing, and how can we work together to fix that?”
I started the panel discussion with an overview of the publishing industry from traditional to indie to self-publishing. I overviewed five main publishing models and discussed advantages and disadvantages depending on needs and perspectives of the writer. A few advantages of self-publishing include: 1) getting a book to market more quickly than through the traditional publishing path; and 2) having more control over the end product.
The downsides in self-publishing arise from the same: 1) getting a book to market more quickly may seduce writers to compromise the lengthy process of perfecting their work (provided by editors, layout and cover artists) to put something out before it is ready; and 2) having more control also means more responsibility borne by the writer (the need to understand more in book production and marketing than a writer in the traditional process needs to). Another important disadvantage to self-publishing lies in more restricted distributing, marketing and exposure.
In my talk, I emphasized that while the current industry is providing great opportunities, with these come great responsibilities.
Authors and editors are currently facing a sea of possibilities. New directions, models, collaborations and structures face us as the publishing industry morphs into something new. Self-publishing and hybrid-players are at the forefront of that evolving tide of new publishing. And it’s very exciting!
Suzanne Bowness of PWAC Toronto provided a good summary of the panel discussion on PWAC’s blog Networds, and shared by the Editors Toronto blog Boldface. Editor and publishing consultant Michelle MacAleese who attended the event made these observations:
- Many in the biz draw a distinction between self-published authors and hybrid-published authors; both are “independent,” but the self-published authors are a special breed, who *are starting to understand art and business and (usually) gladly develop proficiency in all the technical and administrative details of the process.
- Not surprisingly, options for authors continue to change rapidly. What worked best in 2011 is irrelevant today. Many quality companies offer publishing services and hybrid publishing deals. (Many companies will pretty much just steal your money. One must read up before signing up. *Research is paramount)
- The best publishing option for e-only genre fiction won’t be the same as for a debut hardcover business book. It’s a wide world of independent publishing.
- Authors: If you don’t love technical things (formatting ebooks, working Amazon’s categories, tweaking descriptive copy), you probably won’t enjoy starting a publishing house of one.
- Editors: Working with self-published authors is a specialty and those editors who are good at taking on that relationship and guiding the process are worth their weight in gold. (Isn’t it about time we begin to mentor each other in why this kind of author-editor relationship is unique, and how it borders on the agent role at times? *This is a great opportunity for editors willing to evolve and grow.)
- Editors who already specialize in working with self-published authors: Let’s talk about how to partner with reputable publishing services companies as well as with other independent designers and book marketing professionals to launch great self-published books that sell! This point was just touched upon in the panel and is still evolving; again, editors are uniquely positioned as author-consultants to play key roles in new networks of independent professionals in the publishing industry. *italics throughout are mine
A few years ago, I gave a talk at Editors Toronto on the industry from the self-publishing author and freelance editor’s perspective. It remains highly relevant today, given that it spoke to the changing face of publishing and what it means for editors and writers. Editors learned about self-publishing and indie publishing, publishing myths, and imaginative ways to find new editing opportunities:
“Self-publishing used to be a scar; now it’s a tattoo.”–Greg Cope White
Other relevant articles include:
Nina Munteanu on the Author-Editor Relationship
Beating Today’s “S” Curve (or Why an Editor is Every Writer’s Best Friend)
Walking the Tightrope Between Innocent and Cynical
The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know
The Writer-Editor Relationship, Part 1: Editors Preparing Writers
The Writer-Editor Relationship, Part 2: Five Things Writers Wish Editors Knew—and Followed
The Hidden Costs of Self-Publishing, Part 1: The Solution to “Author Solutions”
What Indie Authors Should Know for 2015
Surfing the Hybrid Wave of Publishing
The Indie Book Tidal Wave…What Does it Mean for Bookstores, Publishers & Writers?
Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of