The third Wednesday of each month, writer Jeff Bowles offers practical tips for improving, sharpening, and selling your writing. Welcome to your monthly discussion on Craft and Practice.
To Self-Publish or not to Self-Publish
I guess I’m a bit of a dreamer when it comes down to it. Head in the clouds much of the time, projecting myself right out of reality because, well, I take more comfort in worlds inside my mind than the world as it really is. I’ve always been that way, and it’s helped me enormously as a creative individual. Has it helped me much in life? That’s a conversation for another time. Or, you know, maybe never.
For me, the dream was always the most important thing, because I understood dreams become reality with startling frequency. I mean, that’s essentially what storytelling is, right? Making something whole, tangible, expressive, from nothing at all. It’s something I have to believe in order to do what I do. If I didn’t think anything and everything was possible, how could I convince you?
I like self-publishing. It’s a good speed for me. I made great efforts to publish short fiction in the traditional form for more than ten years, and I wouldn’t change anything about that time. But then I went off to earn an MFA in Creative Writing, and it slowly dawned on me that recognition, fans, and even money will only get you so far. If you’re dedicated to your craft, you can do it penniless. In no way does it make or break your enjoyment of the act of writing. In fact, achieving something like the ever-ubiquitous yet disappointing “best-seller” status often throws unsuspecting authors into a rut, one that can be difficult to climb out of. With success so comes stress and an urgent need to produce. I’m not good with stress, suffer from some anxiety and other mental health issues, and I somehow knew about myself that if I wanted to put my books out, I’d have to do it in a manner congruent with my everyday tolerance levels.
So when it came time to publish my first novel, I did it myself. I got the most amazing help from a friend of mine to render a cover and some gorgeous chapter-to-chapter artwork, I set the date, released it through Amazon, and then plugged it as best I could, also knowing I’m not a natural salesman. The truth is I would’ve made far more money if I’d snagged a traditional publisher. The truth also happens to be that I don’t care all that much either way, because I’m still the writer guy doing his writer thing, albeit at a somewhat reduced level.
I like controlling the whole process from beginning to end. The product I end up with, for better or worse, is all on me. The people who’ve read my first novel have enjoyed it immensely. Living the kind of life that’s cool and confident and down for lower-case “success”, simply because I’m not sure the upper-case kind is actually all that much fun, well it works for me right now. Maybe a few years down the line I’ll really push for the traditional publishing route. I’m not sure. What price success?
Given the choice, most writers would opt for more sales over fewer. I don’t think I’ve used the word “duh” since I was thirteen years old, but duh. The point is, you can write as much or as little as you want, and you can shoot for the stars or just keep your work on the down-low, but the real question is what fuels you? What keeps you satisfied? Is it money in the bank or pure creative expression? A happy mix of both? What do you want? What do you want? WHAT DO YOU WANT?!
If you’re working on a book or have recently completed one, first of all, congratulate yourself. You’ve done something most people on the planet want to do but never seem to get around to doing. Secondly, ask yourself the question in capital letters up in that last paragraph there. It’s harder to find sponsorship than to put it out yourself. That’s true no matter what you do, so consider it numero uno. Are you willing to risk rejection aplenty and month after month of waiting for an agent to reach out and tell you your work is magnificent (or abhorrent)? Or do you want to produce your book on the fly and handle all the publicity yourself later on? Know that for the vast majority of self-publishers, a hundred lifetime sales is considered superb. That’s a slow lunchtime minute in February for one of the major houses.
Work the traditional route, you’re likely to feel under-the-gun and underappreciated by your publisher. DIY it, and you’ll probably feel like you’re grinding your gears, working your butt off just to make a few lousy sales. Release your work through an established house, and perhaps struggle to earn out your advance and start bringing in those royalties. Put it out yourself, and claim your dividends immediately, meager though they may be.
See? Plusses and minuses for both. Nice work if you can get it, but look, your best bet is to keep producing and put your work out however you can, whenever you can. That’s the shotgun method, and it works. I know what’s been right for me in the past several years, but I also claim the right to change my mind someday. In the grand scheme of things, it’s all benefit and no loss. Just keep doing your thing, and if you get the opportunity to publish your work in a major way, absolutely go for it. If you can’t, however, or you simply would rather not, don’t sweat it, because magnificent career legacies have been built on less. Just don’t sell yourself short, and whatever you do, remain true to your vision and your goals.
Now for a little practical advice. You knew it had to be buried in here somewhere, right? If you’re in the market for an agent, find yourself a good searchable database like AgentQuery.com, or if you’re so inclined, think about picking up the 2020 edition of the Guide to Literary Agents, which many writers throughout the years have found great success with. Your manuscript must be in tip-top shape before you send it to anyone. I know that seems like common sense, but you’d be surprised how often people mess this up. Tip-top means thoroughly revised, edited, and proofread. If you can make it any better, you’re not done with it. Remember to remain professional and courteous, even when you get shot down. Especially when you get shot down.
On the flip-side of the publishing coin, the final state of your book is just as important in self-release, perhaps more so, because you won’t get an assigned editor to walk you through the process. If you can afford one, hire the services of an independent editor, and if you’re not super artistic, hire someone to do the cover and book layout, too. A lot of people, like yours truly, release their stuff through Amazon and call it good, but this is by no means your only option. Vanity publishing, independent print-on-demand, and independent ebook distributors all exist, though do your homework, because some are more attractive than others. Vanity publishing, by the way, try to eschew it if you can. I like Amazon because it’s one-stop shopping, and their KDP publishing system is easy to use, but your mileage may vary, and you may have bigger plans for your work than I’ve had for mine.
Regardless of how you publish, just remember it’s incredibly important to put out the best work you can. You want words you can feel proud of. In the end, your writing legacy is completely in your hands. That’s it for this post, everybody. I’ve got an overdue book to edit, and you’ve got more awesome Writing to Be Read articles to peruse. See ya next time.
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Every event we take part in touches us in some way, helping to shape us into who we are. Our experiences change us, sometimes in small ways, and sometimes in more drastic ways. We live, we learn, we transform, and always there is movement and growth. Certainly, the 2018 Writing the Rockies Conference was one such inspirational event, although there were so many offerings, it would be impossible for me to touch on them all. The offerings which I did get to attend were very informative and inspirational.
During the welcome reception, the program director, Dr. David Rothman, talked about what it is that makes the Writing the Rockies Conference stand out among other writing conferences. Certainly, the fact that it leans heavily toward the academic aspects of writing should be counted toward the top of the list. Not that the writings explored are all academic in nature, but the intention is to educate us in how to tap our inner creativity and allow it to flow out onto the page. And every year that I have attended the conference, like everything else in life, it changes and grows.
The Writing the Rockies Conference has expanded considerably since I first attended in 2012, and has even grown some since I last attended in 2016.In addition to the great panels and single day workshops, and their outstanding poetry symposium, which are offered every year, the 2018 line-up included an opera performance and workshop, three-day intensive workshops and seminars in all five concentrations, (creative nonfiction, genre fiction, poetry, screenwriting and publishing), which are available for an additional fee. And as usual, there were opportunities to sign up for pitch sessions and manuscript critiques, and social events such as Coffee with the Pros, where you have the chance to chat with professionals from the industry, both student and professional readings, as well as open mic events and a full day’s schedule of nature hikes in the Gunnison Valley, (one more thing which makes this Conference unique). While attending, there were also opportunities to attend a special presentation of Comedy is Hard by Mike Reiss and a one man play, Multitudes: An Evening with Walt Whitman by Kim Nuzzo, both public performances which coincided with Conference dates.
In his Keynote, author, poet and educator, Mark Todd discussed Writing From the Edge of Nowhere, and why so many writers sprout from Colorado or are drawn to Colorado as a backdrop. Certainly, the breath taking scenery attracts the attention of writers and many have tried to capture the beauty of the Colorado landscape with their words. There are some who haven’t done a bad job of it. As a native Colorado author who made historic Colorado my setting in Delilah, I can tell you that the love for the landscape draws you and for westerns, the landscape plays a big part.
The publishing panel, moderated by Kevin J. Anderson, who has been traditionally published for many years and has founded his own WordFire Press with his wife Rebecca, was enlightening for me. As I’d been wondering if my own publisher was being fair with me. I learned what you should be able to expect from a small press publisher, and found that although perhaps my communication with my own publisher could be better, they are probably giving me a pretty fair deal in today’s market. Their panel also made me reconsider my own plans for publishing The Great Primordial Battle, which is book 1 of my Playground for the Gods science fantasy series. It’s been sitting on the virtual shelf after many rejections, and I was planning to self-publish it when it comes back from my beta reader, but now I’m thinking perhaps I should give traditional publishing one more shot before I go that route.
I had the honor of sitting on the alumni panel for Western’s Graduate Program for Creative Writing, which offered the chance for panel members to toot their own horns about their individual successes and tout praises for the M.F.A. in Creative Writing program. On the panel with me were my fellow alumni, Chris Barili, Susan Spear and moderator, Steve Visel.
Although I did not purchase a meal card, I heard high praise for the conference cuisine, well worth the additional charge. The welcome dinner and ceremonies, featured delectable appetizers, a main course of stuffed peppers or mushroom chicken and all the accompaniments, and mouth-watering fruit pies for desert. All was well prepared and attractively presented by Western State Colorado College.
The one thing I was disappointed with was that I didn’t get to do the book signing I had anticipated due to scheduling conflicts. But at Writing the Rockies they are always looking for ways to improve their program, so I can always hope that next year things will be scheduled better. Over all it was a great conference and I look forward to watching it grow and develop in the future.
There are many measures of success, especially in writing. Readers may look at whether or not an author has made any of the best seller lists. Authors may look at the number of books published, or number of sales, or even positive reviews. For rising authors, who are trying to get a foot in the door, like me, finding a publisher willing to publish even one of your books may be all that is required to consider yourself a successful. That’s where I’m at right now, as I just signed a contract for my western novel Delilah. But the point is, that success is subjective and there are many different levels involved.
You can see what I mean. My little contract for Delilah wouldn’t be a big deal for someone like Stephen King or Anne Rice, who sell books faster than they can write them, but for little old me, it’s a very big deal, even though it isn’t with one of the big five major publishers and there is no advance that comes with it. Although those things would be nice, signing with my small independent publisher, Dusty Saddles, makes me feel plenty successful.
What’s great too, is that it doesn’t end there, because of those different levels I was talking about. Sure, I feel successful now, with book contract in hand. But, I also have a feeling of success when I check my blog stats and discover that my readers are increasing. I feel it every time one of my poems, or short stories is published. I felt it when I earned my M.F.A. in Creative Writing. I’ve no doubt I’ll feel it again if Delilah starts selling copies and I find people are reading it, or when the next book contract comes along, or if I sell a screenplay.
Success is what we, as writers, all strive for, although your definition of success may be just finishing the book. That was my definition while I was earning my M.F.A. in Creative Writing, but after completing two novels, working on both simultaneously, I know I can finish a book, so I’ve moved on to the next challenge. Selling the book, and now it looks like I have achieved that success, as well.
But we have to be careful not to want that success so bad that we allow ourselves to be taken. There are a lot of scammers out there, who will try to steal your book right out from under you. Although I was excited about being offered a contract, I didn’t just jump into heart first, but used my head and went over it with a magnifying glass, being on the look out for all the fine print. I questioned different clauses and negotiated on any that didn’t serve my best interests, until the publisher and I came to an agreement that was fair and served both our interests. Although having a knowledgeable attorney or agent look over all contracts is always recommended, as a striving artist, I had no access to that type of professionals, but I did have someone knowledgeable in the business look it over. He confirmed that I was reading it correctly and helped my identify a couple of problems with it. Fortunately, none of them were deal breakers and the publisher was willing to be flexible.
Now, I’m ready to embark on a new publishing adventure and looking forward to in anticipation. Signing the contract holds a certain level of success for me, but the next level of success may be just over the hill, so I must press forward. My readers can help by buying the book, because the ultimate goal for me is for people to read what I write, (and the money from the book sales will be nice, too). Of course, I’ll keep you updated as to when it will be out. After all, I strive to create Writing to be Read.
How do you measure your success?
Want to know more about Delilah? Visit my Delilah Facebook Page
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I recently read an article by Zoe Wood in The Guardian, which states that print book sales are on the rise, and may be making a comeback. I, for one, welcomed this news with open arms. For me, there is nothing like kicking back with a good paper book in my hands. I can get comfy with my Kindle Fire, but it’s just not the same. And I don’t know that I can explain exactly why that is, but it is.
When I first began doing reviews, back in 2010, as the Southern Colorado Literature Examiner, my ARCs all came via snail mail, in print form. Now days, an author can have an ARC to you in a matter of minutes, because they all send digital copies, and everyone publishes in digital format. Some authors also put out print editions, but it’s too easy to get a digital copy to the reviewer for them to want to give away the print ones.
Since my review books are now arriving via e-mail, I adapted by first getting an e-reader app. for my computer, which wasn’t always convenient, but got me by. Then, I won a Kindle Fire in a giveaway on Author Market, (where I now offer my editing and proofreading services for very reasonable prices). With the Fire, my review reading became much easier, because the Fire is small enough that I can carry it with me, so I can pick it up and read whenever I get a free minute.
But, it’s still not a print book. I can’t help but miss the physical act of turning the pages one by one as I advance through the story, the anticipation as the pages left get thinner and thinner. For me, there is something comforting in that small act. My Fire has a feature that makes it look like a physical page is turning, trying to simulate it, so I must not be the only one who misses it. I know I get downright excited when I agree to review a book and the author asks for my street address instead of my email.
Gaby Wood talks about the differences in the way we read with the rise of digital publishing in her article in the The Telegraph. There’s no getting around it. Reading a digital book is not the same as reading a print book, and it never will be. However, we are a resilient bunch, and I have no doubt that we will adapt to the changes that are thrown our way where our reading material is concerned. Already, a new format is gaining popularity in the form of audio books. They aren’t new, but they are rising in popularity, so who’s to say they won’t be the next rising trend?
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Image Credit: The Awkward Yeti. theawkwardyeti.com
Last week, I received a rejection letter for Delilah from a publishing house I submitted to back in October. Although I know it sounds odd, I was elated. “Why?” you may be asking, and with good reason. Rejections are not something writers are usually pleased about. In fact, just the opposite. But I was pleased with this rejection letter for one reason. It was not a form letter. In fact, the editor took the time not only to read the sample I submitted, but to give me constructive criticism and suggestions as to how the manuscript might be improved.
As a graduate student, my professors drilled the idea into our heads that a personal rejection letter, means your manuscript made it past the slush pile and actually received some attention from the editor. It was good enough that they actually read what you sent. And a rejection letter with personal feedback is even better, because then you don’t have to wonder why they rejected your work, and you can strive to fix anything that needs fixing before sending it out again.
My rejection letter was personal, rather than form, and it offered feedback. How sweet is that? I mean, I’m not happy the book was rejected, but I am happy that somebody read at least part of it, in this case, the first fifty pages. My reaction to this rejection is to study the personal feedback and then really look at the manuscript to determine the validity of the comments. Then revise and resubmit to the next publisher on my list for Delilah.
For those not familiar with me or my writing, Delilah is my 60,000 word western novel about a strong willed young woman, who served two years in the Colorado Territorial Prison, in the late 1880s. Delilah thought that time had hardened her against the cruelties of the world, but she wasn’t prepared for the trip back home and the hardships of the Colorado frontier. She heads to her home in San Luis, with sixteen year old, Sarah. An encounter with two outlaws, who take the girl captive, sets Delilah on a journey into the high country of Colorado mining towns. Along the way she faces wild animals, outlaws and Indians, makes colorful friends, and learns to love again. Delilah is a novel with the true flavor of the Colorado frontier.
A while back, I also had a hybrid publisher, who expressed interest, but wanted me to provide other western authors that would be interested in publishing with them. (To get a better idea of what I’m talking about when I say hybrid publishing, see my article, Hybrid Publishers – What are they all about?). I posted in a few places on Facebook, but did not come up with any other interested authors.
So, this is actually the second personal, (non-form) letter that I’ve received on Delilah. Of course, it would have been better if I had received an acceptance letter, but I believe in myself, I believe in my writing, and I know that one day, that acceptance letter will come. And, if not, I am not beyond the idea of publishing her myself, because I know she is that good.
To learn more about and read updates on Delilah, go to my Delilah Facebook page.
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This series on publishing has been a lot of fun to create, and I hope maybe there are some of you who have read all of parts 1-9. I started it because I found that while those in my academic career seemed to be in favor of traditional publishing, with many instructors providing information about self-publishing as an option only reluctantly, while authors all around me were getting their work out there by self-publishing their books.
As I looked into the topic more, I found that some folks used the terms independently published and self-published as if they were interchangeable, while independent publishers are really smaller independent publishing houses that are not among the “big five” traditional publishers. As stated in Part 2, for the purposes of this series that is how I will refer to and view independent publishers.
One of the reasons I enjoyed writing this publishing series was that I am fortunate to know many authors, from all three publishing models, and I was able to gather many different viewpoints, examining it from all sides. Overall, I was able to obtain a pretty healthy balance between the three models. I interviewed self-published authors Jeff Bowles, Tim Baker and Arthur Rosch. In the traditional publishing arena, I talked with children’s author, Stacia Deutsch and historical and biographical author, Mark Shaw. I was only able to interview one independently published author, YA author Jordan Elizabeth, but to even it out, I also interviewed two independent publishers, Curiosity Quills Press and Caleb Seeling, owner of Conundrum Press. And for a nice rounded point of view, I spoke with my friend and children’s author, Nancy Oswald, who has published under all three models.
Now is the time to look at the series as a whole and see what conclusions can be drawn. While I think all authors secretly long for a traditional publishing deal, because being picked up by a major publishing house is ingrained in us as a symbol of success, I see independent publishing houses as a feasible alternative to holding out for the big boys, which can take a long time and for some of us, may never pay off. In some instances, debut authors have a better chance of being picked up by a smaller independent press. With both these options identifying markets which would be a good fit for your work, preparing submissions, writing cover letters and queries, synopsis and outlines will take up a lot of time which might be better spent on writing stories. Once accepted by either a major or a smaller publishing house, the author may be expected to do a good portion of the marketing and promotion, as well, although services such as editing and illustration may be provided.
The upside to signing with a traditional publisher is that the major publishing houses pay out an advance on projected royalties, so major money can be seen in your near future. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties. Of course, as Tim Baker pointed out in Part 2, the flip side to collecting a sizeable royalty is if your book flops. It would be a drag to have to pay it all back. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties.
For self-published authors, there are no advances, but they keep a higher portion of their royalties than with traditional or independent publishing houses. Still, there is no big money now, and no guarantee that there ever will be. Authors may be waiting a long time for their writing to pay off.
As Stacia Deutsch mentioned in Part 4 of the series, traditional publishers provide professional editing and illustrators, to be sure your final product is of good quality. I believe this is true of independent publishing houses, as well, but you won’t find it available through the self-publishing process; one reason self-publishing carries with it such stigma. Gatekeepers insure the book you put out will be the absolute best it can be.
Despite the stigma surrounding self-published authors, due in part to a few self-publishers who like to take short cuts in lieu of putting out a quality product, there are some very good self-published authors out there. As Jordan Elizabeth pointed out in Part 6, self-publishing has a lot to offer. Self-published authors have a lot more control over their work than traditionally published authors, who do not chose their own cover art, and may not even get to keep their own title.
As Jeff Bowles pointed out in Part 1, another possible advantage to self-publishing is the ease and relative inexpense for today’s authors. You can publish a book with Amazon almost for free, and collect either 35% or 70% of your royalties, depending on the price you place on your book. I can attest to this as it is what I did with my short story, Last Call, and it didn’t cost me one cent. At least that way, if my story doesn’t rise to the top of the best sellers lists, (which it hasn’t), I really haven’t lost anything. The important thing to remember when self-publishing is that you need to put out a quality product. It is worth it to find a good editor, and for all of us starving writers out there, an editor can be employed for a minimal expense. I also suggest utilizing a good critique partner when funds are low, but be sure to have some type of editing done, by someone other than yourself, before publishing your book.
Although Amazon has made publishing extremely easy and inexpensive for authors, they have also monopolized the industry and are making it more difficult for independent publishers, as Caleb Seeling explained in Part 8. Learn more about the negative effects Amazon has had on the publishing industry in the Institute for Local Self Reliance’s report, which emphasizes, from a consumer standpoint, the need to buy local and battle monopolization. If readers heed this warning and buy their books from local independent, or chain, bookstores right down the block, the publishing industry may change yet again.
Amazon’s monopolization affects authors and reviewers as well, as is discussed in What Amazon’s New Review Policies Mean for “Writing to be Read”. As much as Amazon’s review policies effect the reviewer, they also effect the authors who are depending on those reviews to get their books sold.
Author Mark Shaw gave us a heads up about vanity, or subsidy publishers, charging unsuspecting authors exorbitant fees to publish their work as Mark Shaw warns in Part 5. They prey on authors who desire to get their work published so bad that they are willing to empty their coffers to do so. These publishers can get outrageously expensive for authors, so don’t be drawn in. The kicker is that even if you publish on Amazon or Create Space in order to fit your budget, you still may need to spend quite a bit of time and/or money on marketing as Art Rosch tells us in Part 3.
Independent publishing houses, also referred to as small or medium-sized presses, work along the same lines as traditional publishers, but they don’t publish as many books each year as the big five do. In addition, they tend to be more specific in what they are looking for, with most having very specialized niches that your book must fit into to be published. Although all independent publishers may not follow this practice, publisher Caleb Seeling says he actually seeks out authors whose work fits into his niche. In any case, authors should be familiar with submission guidelines of the publishing house they are submitting to, whether large or small. In her article, How to Smartly Evaluate a Small Publisher, Jane Friedman, of The Hot Sheet, (the publishing industry’s news letter for authors), offers some great tips on what to look for.
In Part 7, Nancy Oswald points out one of the big advantages to publishing with a small press is the more personal relationship between author and publisher. Whereas a traditional publishing house may not be able to put a name with a face, independent publishers work closely with their authors because they only have a few at any one time. Independent publishers may also have a shorter wait time for publication than traditional houses, which can be quite lengthy.
And then there are the new kids on the block, like Curiosity Quills Press, which are hybrid publishers, offering various combinations of traditional percs with self-publishing author responsibilities. These small independent presses may charge authors for some services, like subsidy publishing, but they also provide a certain amount of author copies at no cost, provide author support, and the services they do charge for are optional. You can find out more about this new model of publishing in my post, Hybrid Publishers: What are they all about?
After hearing from the experts, it seems no matter which model you choose to publish under, there is still a lot of non-writing activities required of authors, including marketing and promotion, resulting in the need for Today’s Authors to Wear Many Different Hats. Of course, you can also do as author Jeff Lyons suggests in his interview with Arwen Chandler, and hire a third party to handle such tasks, so we, as authors can get down to the business of writing. The only problem I see with this is that you must make money before you can spend money, paying someone else to do the tasks that don’t come as naturally as writing does.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 9): Interview with Curiosity Quills PressPosted: December 12, 2016
This series has looked at three models of publishing from every angle. We’ve heard from independent authors Jeff Bowels, Tim Baker and Art Rosch, and traditionally published authors Stacia Deutsch and Mark Shaw, independently published author Jordan Elizabeth, and an author who has published under all three models, Nancy Oswald. We’ve also heard from Caleb Seeling, the owner of the independent publishing house, Conundrum Press.
This week, we hear from a small independent hybrid publisher that specializes in genre fiction of the highest quality. I have been privileged to review two Curiosity Quills anthologies, Chronology and Under a Brass Moon. I have also reviewed several books by Curiosity Quills author Jordan Elizabeth, who we heard from in Part 7, and Keepers of the Forest by James McNally.
Founded in 2011 by Eugene Teplitsky and Alisa Gus, Curiosity Quills was created as a resource portal to help writers, such as themselves survive the publishing industry, and quickly morphed into a publishing press which today, has solidified it’s share in the market. They work with major retailers such as Amazon, Barnes & Noble and Audible, and publish six new titles every month. Curiosity Quills Press offers the some of the advantages of a traditional publisher and offers their authors a chance to participate in the publishing process.
Kaye: How did Curiosity Quills Press come about?
CQ: Back in early 2011, Alisa and Eugene were an aspiring author couple working on a little MG project called Gatecrashers. In an effort to build up our socials and gain a following prior to release, they created a blog called Curiosity Quills (which was nearly called Curiosity Kills… dodged a bullet there!). Throughout that year, many guest authors and industry pros were hosted on the CQ blog to share their stories, wisdom, and experiences with the world. Before they knew it, a sizeable community formed around the CQ blog – and A&E had the brilliant idea of being more hands on about helping the authors hanging out on the site. It wasn’t long before Michael Shean and Rod Kierkegaard, Jr. became the first published authors of Curiosity Quills Press. Unfortunately, this was also the death knell for Gatecrashers or any other further writing project for Alisa and Eugene – turns out running a traditional publishing house is a HUGE time-suck!
Kaye: What are the publishing goals of Curiosity Quills?
CQ: We have a number of goals at CQ, and these can be broken down into the following points:
- To bring the highest quality genre fiction to the masses, at affordable prices.
- To spotlight genre fiction that some traditional publishers might find too unconventional; instead of following genre trends and the mainstream in what is popular, we try to stay ahead of that, anticipating gaps in the market.
- To diversify genre fiction, by publishing stories featuring characters of all race, sexuality, gender identity, social standing etc. While we want to stay ahead of the mainstream, we also want to be inclusive and representative of the ever growing, expanding world we live in.
Kaye: What do you see as the advantages of independent publishing over traditional or self-publishing for today’s authors?
CQ: Independent publishing offers the best aspects of both traditional and self-publishing. On the one hand, we’re able to offer the highest standards of cover designers, editors, proofreaders etc. on par with any traditional press.
We also offer authors access to a wide rage of services, such as NetGalley and features on sale subscription sites like Book Bub. And, as with traditional publishers, we are always focusing our efforts to get our titles into chain bookstores, like Barnes & Noble, as well as selling the rights for our titles to audiobook publishers, and film companies.
But, unlike traditional publishers, we offer a closer, more family-like community for our authors, and try to involve them in the publishing process as much as possible, getting their input on cover design, marketing campaigns etc.
Because of our close-knit community, there are always over authors – at various stages in their careers – on hand to answer questions, help promote each other’s works, and collaborate with.
Kaye: How has the increasing trends in self-publishing affected the role of independent presses?
CQ: Authors want to be much more involved in the process, and on the whole, we’re more than happy to accommodate this. We view publishing as a partnership, where both the publisher and the author bring different things to the table.
As mentioned above, the close-knit community leads to a family of authors all striving together to make CQ the best it can be, which is something you don’t always find with self-published authors. While there is still a level of camaraderie there, all self-published authors are competing against each other, in ways authors of independent presses aren’t.
Kaye: What do you see as the future role of independent publishing houses within the changing publishing industry?
CQ: Independent publishing houses will continue to bring readers what they want, know and love, while also broadening their horizons and opening them up to a wealth of new stories that might get overlooked by the mainstream.
At the same time, independent publishing houses will strive to bring authors an experience they won’t get anywhere else in the publishing industry, with all the benefits of traditional and self-publishing, but less of the drawbacks.
I want to thank Clare Dugmore and Curiosity Quills for sharing with us here on Writing to be Read. I know they are busy people and I appreciate them taking the time to answer my interview questions. Next week I will follow up with conclusions on the series in Part 10 of Pros and Cons of Traditional vs. Independent vs. Self-Publishing.
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