I wonder why people thought the rooms were divided
into Trad published and indie published.
Not exact matches
It has more
trad - pub nomenclature and you need to know your stuff before venturing
into LS, so not at all something for first time
publishing.
I find it interesting that people make this
into an either / or thing, I'm doing both, indie
publishing shorter works that there's no point offering a
trad publisher, while my novel is in the hands of my agent.
2) Self -
publish first, build an audience, then use that to leverage yourself
into a good
trad deal — if you still even want one by that point.
The question of bringing readers over from
trad to self is worth taking
into account, but with the lion's share of the marketing being done by the author wherever the
publishing is happening, I'm not sure how much longer that will be relevant either.
These are good points, but don't take
into consideration a big change in
trad publishing: the author is increasingly responsible for marketing and branding.
Although I got
into the SF top * 5 * with one of my
trad published novels, and it sure didn't earn $ 18,000 that month.
You can self -
publish some work as you continue to wait for the
trad train to pull
into the station.
While many authors have focused on indie
publishing the novels that were originally
trad - pub bound, we're just beginning to move
into the era where works are being created solely, from conception to completion, for publication as ebooks.
That's the other advantage of indie
publishing: you don't have to follow the guidelines (the ever - shifting guidelines, might I add) of the
trads, whether it is a demand for massive doorstopper fantasy novels, or having to inject vampires / zombies / whatever the flavor of the month
into your story, or even making sure the characters are «diverse enough.»
I hope that the market forces you're talking about really do push
trad publishing into being good guys.
(As an aside, I suspect if I dug
into the
publishing contracts with many
trad pubbed authors, I'd find a clause that cuts their royalties to almost nothing when the selling price of a book is greater than a 50 % discount.
Are these
trad publishing houses doing some secret ninja marketing technique to tap
into everyone's inner hipster?
She has worked with Cambridge University Press, where she managed technical production cycles for books and software from development to publication, and Oberon Books, London, a specialist book publisher where she gained insight
into the gatekeeping process in
trad publishing.
Think it was bad before when
trad publishing didn't bother or couldn't get you a nice print run
into stores?