There used to be only one reputable way to publish a book in Canada: traditional (trade) publishing. While the trade publishing route is still a respected option for some of today's authors, many others are choosing supported self-publishing—and with good reason. In order to fully appreciate the benefits of this new preference, we need to first understand the characteristics that differentiate trade publishing from vanity publishing from supported self-publishing.
Traditional (Trade) Publishing
Many writers still envision this process when they consider having a book published: seeking out a trade publisher that will consider their type of work; mailing a query letter and sample chapter or poem to that publisher with a self-addressed stamped envelop attached; and then anxiously awaiting a response, within three to six months, as to whether or not the publisher will take on the project. More often than not, the unknown author's work is declined; and he or she must move onto the next submission with the next trade publisher in the hopes the book will eventually be accepted.
Those new to the book publishing industry often view this as a personal rejection of their work. Many give up hope of ever being published at all. The truth is, writing quality is not the only determinant trade publishers use when deciding whether or not to accept a manuscript for publication. Most receive literally thousands of manuscript submissions each and every year from which they select fewer than one dozen new authors to work with—a discriminatingly low acceptance rate. Obviously, budget and manpower play a huge role in their decisions. But one must also consider that many of the small Canadian literary presses, in particular, are funded by operating grants. These grants contain strict guidelines as to what types of work they can/cannot publish. Sometimes, their hands are simply tied, and talented authors are overlooked as a result.
For the writers whose work is accepted, there is a noteworthy implication they may not be aware of straightaway. When a trade publisher agrees to pay for the publication of a manuscript, what they are purchasing is the rights to that work. In other words, the writer must now relinquish much of their creative control over to the publisher. It is the publisher who has final say on editing and design. It is the publisher who has final say on how the book is to be produced and marketed ... because it is the publisher who now owns the book.
Vanity Publishing
Most people have heard the term "vanity publisher" as the less respected publishing alternative. Vanity publishers have earned their notoriety by accepting and publishing 100% of the manuscripts that are rejected by trade publishers without much consideration to quality or content ... the opposite extreme of trade publishing. The best way to recognize a vanity publisher is this: their primary concern is profit so they will publish anything for anyone who has the money to pay for it; they hire unseasoned staff at reduced wages so they can charge enticingly low "publishing package" rates; and they won't actively encourage their writers to improve the quality of their work.
A vanity publisher will take what they receive and publish it as is ... no matter what it looks like. Not only does this reflect poorly on the publisher, but it also reflects poorly on the writer. Books that are haphazardly produced in this manner simply cannot expect to compete in the marketplace against a professional trade publisher's finished product. There is a noticeable difference between the two.
Supported Self-Publishing
The supported self-publishing route combines the quality of traditional (trade) publishing with the flexibility and control of vanity publishing. Writers are considered both the author and the publisher of their own books, and the supportive self-publishing house merely assists them in self-publishing their books by supplying all the tools they will need and facilitating the entire process from start to finish.
A qualified supportive self-publishing house requires its writers to have their work copy edited and proofread in the very least. (Trade publishers usually take it a step further and require each and every manuscript to go through a substantive edit.)
Supportive self-publishing houses utilize experienced talent—graphic designers, ghostwriters, editors, proofreaders, indexers, et cetera—to ensure a professional final result. They also employ modern printing techniques (print-on-demand) and modern marketing services (online presence) in much the same way today's vanity publishers do.
When writers pay for professional support in self-publishing their books, they gladly maintain their copyright ownership and creative control. It is the writer/self-publisher who has final say on everything from design to production to marketing the final product. They are also assured a quality end result that is able to compete in the marketplace ... which can make a world of difference when it comes to selling their books and earning any kind of profit down the road.
Polished Publishing Group (PPG)
Calgary, AB
Comments
Writers should be paid to write. They shouldn't have to pay editors to edit them. "Supported" self-publishing is sounds like vanity publishing where the writer pays extra money to be edited. All the financial risk falls on the writer, not the "publishing house."
Money flows TO the writer.
Hi Teresa,
To be a truly successful author, you have to treat book publishing, sales, and marketing as your own business. The same holds true whether you take today's supported self-publishing route or go with a traditional trade publisher. If you enter into this venture with the expectation that you won't have to invest much of your own time or money—or that your publisher is solely responsible for that investment on your behalf—you'll most likely be disappointed by how few books you sell. But if you go into this with an entrepreneurial spirit, you may just find your wings.
I'm baffled by the writers who staunchly defend the antiquated notion that no author should ever have to drop a dime to publish/promote themselves because it is the responsibility of their publisher to take care of them. Nothing could be further from the truth.
Kim S.
I agree with Kim when she says that authors need to invest their time and money in promoting their book and doing their bit to ensure sales. Writing a book is increasingly being likened to an entrepreneurial venture that requires such an investment. We are what you have nicely called a "supportive self-publishing house", we insist on at least one round of editing, provide experienced talent for services such as cover design and page layout and we print on demand. We also provide online marketing services and discuss distribution options with nation-wide distributors. However, at the end of the day, we rely on the authors themselves to promote their books. I believe that such an expectation is also harboured by mainstream publishers who publish so many titles, they can hardly concentrate on marketing just a few.
Warmly, from India,
Leonard Fernandes
CinnamonTeal Publishing
Hi Teresa,
Thank you for your comment. You are very right when you say, "...we rely on the authors themselves to promote their books. I believe that such an expectation is also harboured by mainstream publishers..."
Trade publishers are business people, too. Like any smart business people, they will focus their efforts on the books that bring them the best return on investment—their frontlist and the few backlist titles that continue to sell over time. Having worked with one of these publishers in the past, I can tell you firsthand the only backlist inventory we moved were the titles being actively promoted by the authors themselves. (Why should any publisher invest in authors who are unwilling to invest in themselves?)
Warm regards,
Kim S.
Hi Kim
From one Examiner to another, I find your article to be straight forward, informative, and educating, thank you for such accuracy. I shall read more of your interesting work.
Here is a link to my work www.examiner.com/book-in-vancouver/donna-thompson
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