Claire Wingfield Editorial and Literary Consultancy

 Is self-publishing or traditional publishing for me?

The two best-known routes into publishing are traditional publishing – partnering with an established publisher (and possibly literary agent) – and self-publishing, where the author funds and controls the process. Let’s dig into the fundamental and then more subtle differences between the two.

Traditional publishing with a mainstream publisher

Here, the author benefits from the publisher’s well-established brand in the production, marketing and distribution of their book. Each book will be one of many launched by the publisher – one of the publisher’s extensive ‘catalogue’ or ‘list’ of titles.

Large publishing houses are exceptionally busy places and both the submissions process and book-production process can feel slow to a first-time author. It goes without saying that mainstream publishers are incredibly selective and base their decisions on believing a book can be a mainstream hit and sell a suitably large number of books. There will be an existing rosta of authors they are working with, and the openings for new authors may be far slimmer than a writer submitting from outside might expect. This can come with some frustration at feeling ignored by the larger publishers, even when the author believes the book they are submitting is the next big thing. However, for those who do make the cut they can expect to see their book in all the right places and will have no problems accessing the shelves of Waterstones and independent bookshops, as well as support in gaining press and attention for their book. The promotional budgets of large publishers can see their books given favourable placement in large retailers, which the reading public mostly won’t realise are paid for in some way. (Although even those authors published by a large, mainstream publisher will take ongoing responsibility for promoting themselves as an author.)

The mainstream publisher trades on their experience in selling books to readers in large numbers in multiple territories, including packaging books with covers with lavish flourishes. The edges might be sprayed an eye-catching colour, or foil or raised lettering might be used to draw attention to the title – decorative touches much harder for the self-published author to achieve. (Though it is worth noting that publishers often invest in these more expensive finishing touches for the launch run of a new book, or for the important Christmas season, then revert to a plainer format, more in line with what a self-publisher can achieve via print-on-demand technology.)

Books will pass through multiple editing and proofreading rounds with one commissioning editor collating the responses from various readers (some in-house, some working freelance for the publisher and likely their competition too).

Due to the weight of the publisher’s marketing clout, the opening of distribution doors and the time and money invested in producing the book, and the prestige of working with the publisher, the contract terms are largely weighted towards the publishing house and the author can expect to earn royalties of approximately 10% – sometimes lowering to 7.5% (though this may be evened out with a more generous author percentage for ebook sales). There may be an advance payment agreed, with the advance needing to ‘pay out’ before further royalties are earned. At the stage of considering a publishing contract, it is recommended to ensure you fully understand your position and what is being offered. In the UK, The Society of Authors is one organisation that offers legal and contract advice to its members. This can be obtained fairly swiftly after joining.

Traditional publishing with a small publisher

Where many of the large mainstream publishers discussed above may sign many new authors via a literary agent (i.e. the author has submitted to literary agents, signed a contact offering a percentage of any future royalties to one, and that agent has taken on the search for a publisher), smaller independent publishers often accept ‘unagented’ submissions. Their websites may feel more welcoming to new authors although like the large publishers, they will focus on certain areas of the book market only. In deciding which smaller publishers to submit their manuscript to, the onus is on the author to research which small publisher might be the right fit.

Royalties are often similar to those offered by the juggernaut publishing companies so it is worth weighing up the value a smaller publisher can add before signing any contract.

In the UK, a comprehensive directory of literary agents, mainstream and indie publishers can be found in ‘The Writers’ and Artists’ Yearbook’.

Don’t accidentally fall into hybrid publishing, where a company requests money towards production services but still acts as a publisher in controlling the book and giving the author royalties. Here, an author has little to no control over the production services they are investing in and is tied into an ongoing financial arrangement sometimes with little transparency. For example, the author is reliant on the company to provide the sales figures that would aid their marketing efforts. If paying towards publishing a book, full self-publishing allows the author access to sales figures whenever needed.  

Self-publishing (also called indie or independent publishing)

Self-publishing means the author is in control of all aspects of producing, promoting and managing the book. It doesn’t mean working alone. Self-publishers work with professional editors, cover designers and publishing consultants. Self-publishers contract services as needed, select which professionals to work with, and keep the full profit from book sales. Independent publishers manage the publishing accounts and can check sales figures when needed, helping to assess and improve marketing efforts. Successful self-publishers are often savvy with book marketing and their instant access to sales data can see them on a faster learning curve than their traditionally published peers, where sales data is released to the publisher’s schedule.

Online groups supporting self-publishers can encourage members to try new marketing methods and share strategic information, helping the self-publishing community compete with the larger publishers, whose embedded organisational structures and methods can sometimes make them slower to change their established practices.

Some indie publishers publish on a shoestring (though most use a professional editor for several rounds of edits as well as a professional cover designer); others continue writing or with their day job whilst a book-production manager such as myself brings the book through the various stages of book production. The author will ‘sign off’ each stage, acting much as a commissioning editor would in a publishing house. Self-publishing can be an empowering and personally satisfying route for authors who enjoy taking this role.

There has been a history of traditional publishing being considered the ‘prestige’ route. However, there have been many developments opening the world up to self-publishers and these are set to continue. Organisations such as the Alliance of Independent Authors aim to give self-publishers a collective voice.

Self-publishers have to be adaptable. No small business can do everything and thus when some routes to market are trickier for self-publishers than authors with books published by mainstream publishers, it is worth focussing on those that are currently most profitable and open to self-publishers. For example, mainstream publishers can print runs of books in large numbers in the most cost-effective printing facilities, bringing the unit price down far enough to offer retailers large discounts to sell their books. Self-publishers on the whole use print-on-demand technology and can’t offer such large discounts, nor the instant access to books waiting in a warehouse that mainstream publishers can. This can be why selling direct to the reader via Amazon KDP Publishing, supported by the author’s social media, e-newsletter, or Amazon ads strategy can be the easiest and most effective way for self-publishers to reach their reader.

It’s possible to mimic the traditional publishers’ methods to a certain extent (e.g. by investing in a print run, allowing decorative flourishes to the cover and warehousing at a cost) but it must always be asked whether it is cost- and time-effective to do so. Generally, launching via Amazon KDP Publishing (plus other e-book retailers such as Kobo and Draft2Digital if not taking advantage of KDP Select where e-book exclusivity is required) plus Ingram Sparks for some access to bookshops (though the level of retailer discount self-publishers can offer via print-on-demand will likely mean orders only or relatively small stock where there is a local link) and ‘hand-selling’ at events is standard for indie publishers in the UK. I would suggest authors who hanker after wide distribution outside of Amazon ‘prove their readership’ by building sales and reviews before investigating and potentially investing in the more time-intensive print-run and warehousing route (where there are more up-front costs to ‘earn out’ than the print-on-demand model). Worth noting, too, that print-on-demand is more forgiving than publishing a print-run of thousands of books in one go, due to being able to update and reupload files to correct any errors spotted. Another reason to wait to consider a print-run after being confident the final product is in the best possible shape.

It is also helpful to work with a cover designer who understands how to get the best from print-on-demand technology – such as working within the tolerance for printing error and making a book without flourishes such as foil lettering or sprayed page edges compete with the best cover designs that mainstream publishers can offer.

A book is an ongoing asset and successful self-publishers remain alert to new opportunities as they arise.     

Not sure which publishing path to take?

If you’re unsure which publishing route would suit you and your books, completing a comprehensive submissions campaign could be a good first step. To put together a submissions package, writers have to pitch their work to publishers and agents. This is a helpful step for any author in thinking about how to market their work and any literary agent or publisher feedback or response can be useful either in moving closer to realising the dream of being published by a traditional publisher, or in choosing to self-publish and build an author career that way.

There are an increasing number of authors who are published both traditionally and also self-publish, so choosing one path to publication does not exclude the other. In my career as a literary and publishing consultant, watching the publishing landscape evolve over more than 20 years, I would say the most important thing for the author is to keep learning about the industry and not leave their author career entirely in the hands of others – whether publishing with an external publisher or embarking on a journey as a self-published author. Seeing some mid-list authors who had been dropped by their publishers flounder, has convinced me of this. It’s why ensuring some method of direct contact with your readers – e.g. via social media or an e-newsletter – rather than allowing the readers to ‘belong’ to Amazon, or the publisher, or Waterstones, puts you as author in the most powerful position.

Trad vs Indie Publishing in Summary

Traditional publishing – seen by some as the prestige route; many mainstream publishers take on very few new authors each year so pursuing this can take up valuable time (although the submissions process can provide valuable information about how to pitch your book, as well as the book industry. If specific feedback is given, this can be useful in strengthening your manuscript / offer). May need to first sign with a literary agency for the best chance – which can also be time-consuming and competitive. For those authors who sign a contract with a traditional publisher, their books will have the fullest access to distribution and press / promotional opportunities. Translation rights and books in multiple formats will often follow. Authors who are traditionally published benefit from the many years of experience of the team working on their book – and different members of staff will work on different aspects of producing and marketing the book. There will be editorial staff and staff on the marketing department supporting the author – though this support is shared between all the current and future authors working with the publisher, so promotional support is generally focussed on the launch and the author will need to work on the ongoing promotional task of building a profile for themselves as author and their books.

Publishing with a small or independent publisher – Often open to unagented submissions and so can be considered easier for new authors to break into. Can be vulnerable to publisher closing / merging with a different company. Can have a friendlier, less corporate feel than the larger publishers.

Self-publishing / indie publishing – author selects freelance industry professionals to work with and signs off each stage of the process. Retains creative control and more of the profit from each book sold but can hit barriers to accessing retailers, literary prizes and press. However, even focussing on the most fruitful opportunities for self-publishers such as selling direct to the reader via Amazon / online / at events / building a loyal readership can be a full-time task. Successful self-publishers do a professional job of producing their books, understanding their audience and testing new opportunities when they arise 

Hybrid publishing – beware this worst of both worlds; paying for author services upfront without knowing the quality of the providers and giving an ongoing percentage of earnings away. Lack of control of assets and the data to guide promotional activity. If in doubt, be sure to complete an online search looking for any ‘complaints’ or ‘reviews’ of the company in question.

Questions to ask in deciding which publishing path to take:

• What is the main goal of publishing my book?

• Do I have time to edit, market, and promote my book?

• How important is seeing my book in a bookshop versus selling online?

• How much time do I have for ongoing ‘book maintenance’

• What skills do I have?

• Which publishing professionals might I enjoy working with?

Need some help considering your answers to the above and deciding which is the best publishing path for you to invest time in? A literary consultant or publishing consultant such as myself can help you cut through the noise and decide on a clear strategy to progress your writing and publishing goals.

It’s worth keeping in mind that over time your publishing goals and strategy may change. With a professional attitude to all publishing activity (from submitting a manuscript to independently publishing a book) and continued learning, many authors may experience both traditional publishing and publishing independently over the duration of their author career. I believe that being open to, and learning from, both approaches is the best publishing path of all.