From from author Dario Ciriello via Fiction University:
[W]hatever anyone tells you, self-publishing is still heavily stigmatized. True, things aren’t as bad as they were, but we’re still viewed by many as wannabes and second-class authors who aren’t good enough to interest a “real” publisher.
. . . .
It’s not hard to understand the root causes of this prejudice. Before self-publishing mainstreamed with the advent of POD, we had vanity presses (we still do), a derogatory term for publishing houses that charge desperate authors stiff sums of money to produce and print small runs of books, typically in the 1,000 to 2,000 copy range. There was no screening, no editorial process, no proofreading (though some vanity presses would offer these for a price). Like the early rush of POD books that we began to see in 2009 or so, the vast majority of these books were truly awful, and their authors usually and deservedly ended up with a garage full of unsold books.
Five years later, the overall quality of self-published books has improved enormously. This happy event is largely the result of (i) the very lively and ongoing dialogue between self-publishers made possible by the internet, and (ii) competition in the marketplace. A handful of celebrity self-publishers, along with the growth of interest and coverage the field has received in the mainstream media, have helped.
But the stigma among the media, the reading public, and many of our fellow writers persists, and this legacy of prejudice against self-published work manifests itself in ways both obvious and subtle. Almost all mainstream reviewers (and most book bloggers, who ought to know better, given that they are self-publishing their reviews) still have firm policies against looking at self-pubbed work; many trad-pubbed writers still look down their noses and (openly or behind your back) sneer at their self-published peers; and bookstores—even those who brag about supporting local authors—rarely want anything to do with us. And of course publishers and agents have a strong vested interest in perpetuating the stigma.
. . . .
So task number one is to continually raise our game. Good writing aside, self- and indie- pubbed books don’t have to look as good as what the Big Five are releasing, they have to look better. We need to produce books that show an artisanal level of pride in every aspect of production, from editing to formatting to cover design. This needn’t break the bank, but it does require time, study, and thought. If we’re not prepared to do that, we only perpetuate the stigma.
Link to the rest at Fiction University
Here’s a link to Dario Ciriello’s books
PG says indie authors should worry about what readers think of their work and forget the other stuff. Readers vote with their money. Critics, reviewers, etc., vote with their words. Which do you prefer, money or words?
Readers buy books and authors, not publishers. Nobody says, “I have a complete collection of everything Random House published in 2002,” or “I’m so excited to hear there’s a new Simon & Schuster book that was just released.”
The “self-published stigma” just doesn’t matter to the business of writing. If someone asks why you self-publish instead of getting a traditional publisher, PG suggests a response something like, “Because I wanted to be a professional writer instead of a real estate agent who writes on the side,” or “Because I wanted to drive a new Mercedes instead of an old Hyundai.”
If you think it’s pretty stupid to sign a contract with a traditional publisher and that smart authors self-publish, show some attitude.