I have read novels
published by legacy publishers, wholly vetted by agents and editors from on high that were utter CRAP.
If one purchases a novel, whether in print or electronic form, and enjoys it, does it really matter if it was vetted and
published by a legacy publishers or whether it was indie published?
The looks on the faces of those who have never had to consider the difference between what an author earns on a book
published by a legacy publisher versus what that author would make if she published the book herself told a story all unto itself.
How is the print / paper / binding quality of the Createspace books in comparison to the ones
published by the legacy publishers?
As far as any objective quality of writing, editing, or finished product is concerned, I'd gladly pit my book against those in the same genre
published by legacy publishers in the past few years.
I'm not saying you shouldn't get an agent if you want to be
published by a legacy publisher.
Over the holiday I read a book
published by a legacy publisher.
Not exact matches
Are
legacy publishers and professionals so threatened
by self -
published authors that this level of effort goes into picking apart an argument in favor of indie authors?
But how do you decide between a
legacy publisher, self -
publishing, and the new kind of marketing - centric
publishing pioneered
by Amazon but soon to be emulated
by numerous new players?
According to Stark, the convenience and speed - to - market enabled
by the tools Lulu provides for self -
publishing make it possible for a small, savvy
publisher like Shelf to «plant its flag in an industry niche that the small
publisher has the flexibility and agility to exploit in a way that «
legacy»
publishers can't.»
Speculation runs from laziness
by legacy publishers to too many people thinking they are the next great writer waiting to be discovered and who are taking advantage of the ease of self -
publishing digitally.
If you are offered a contract
by a
legacy publisher PLEASE take it to an IP attorney with
publishing experience and have him vet the contract before you sign it.
If you are a self -
published author who suddenly finds himself offered a contract
by a
legacy publisher, consider your options carefully.
And let's not forget the
publisher who pulled an entire line of books after Fifty Shades of Grey took off (which, btw, was first self -
published and is NOT well - written or edited, even after being picked up
by a
legacy publisher) to make sure all its covers told readers that these were books in the vein of FSOG?
He's done some really good ones breaking down the figures paid
by legacy publishers v. small presses or self -
publishing.
While many
legacy publishers may not like to think about how large the self -
publishing movement is (Smashwords alone, has announced that writers have self -
published more than 250,000 books on its platform), it appears that making money off self -
publishing authors is just fine
by the traditional houses.
Eisler defines self -
publishing: «it means you keep the rights to your book and
publish it yourself using distributor / retailers like Amazon, Apple, B&N, Kobo, Smashwords, and Sony, typically retaining 70 % of the cover price instead of the 17.5 % offered
by legacy publishers (for digital editions).
Many writers still fantasize about being picked up
by one of the Big Five, but should they, when authors are leaving
legacy publishers for self -
publishing only to then leave self -
publishing behind when approached
by an Amazon imprint?