Self-Publishing

Self-Publishing Reaches the Summit

24 November 2014

From Digital Book World:

I recently took part in New Generation Publishing’s annual Self-Publishing Summit in London, now in its third year. It is always a good opportunity to stop and consider how the self-publishing sector has evolved.

. . . .

The traditional versus self-publishing argument is finished

At the first Summit in 2011 there was a lot of anger in the room, and not just from the panelists having to work on a Saturday. There was a sense of writers scorned with traditional publishing being painted as elitist, out-of-touch, arrogant, dismissive, and either redundant or on its way out of business. That sentiment was probably best summed up as, ‘I didn’t want to be traditionally published anyway.’

The traditional publishing industry had brought a lot of this on itself and for its complacency alone deserved this kicking. But aside from being cathartic for some writers, I always found this approach distracting and unproductive. Reader don’t benefit from industry mudslinging, and they are ultimately the only ones that really matter.

I noticed it last year but there was virtually no discussion of the opposition between traditional and self-publishing this year. The focus was on options–what is available through all possible routes and how to be as successful as possible through the route chosen. It would appear the post-breakup score-settling is over and the sector has moved on, which can only be a good thing.

. . . .

Quality, quality, quality

This is something I always press home to self-publishing writers I speak with, and it was a point raised (and also rammed through) by several panelists at the event, from editors to successful traditional and self-published authors. It’s one thing to be focused on being a great seller and marketer, but the hardest and most important part is to focus on being a great writer. It is ultimately that and nothing else that will provide self-published writers with long and successful careers.

Readers aren’t interested in how the author published the book. They are interested in quality, looking only for the best book to buy. I also hate the thought of writers with great potential rushing out a self-published book, then seeing it and giving up writing when with a lot of hard work they could have become successful later on.

I hope this point was taken to heart, and I believe it is a work in progress. I for one am going to keep going on about it–and possibly will still be going on about it at Summit No. 60, should mortality allow.

Link to the rest at Digital Book World

Blazing the Self-Publishing Path

23 November 2014

From Publishers Weekly:

Since the beginning of her writing career, M.C.A. Hogarth has been an innovator, not only because of the many worlds her aliens, spacefarers, and lawkeepers cover but in the way she gets stories to the people who want to read them. Long before self-publishing, crowdfunding, or e-books became buzzwords in the media, Hogarth was reaching out for new, often technology-based ways to create and maintain relationships with readers.

Hogarth’s online presence extends back to the early days of the Internet. Her website stardancer.org was launched in the early ’90s, to share original character art and background information about her created worlds—but, although she’d completed several shorts and her first full-length novel by 1994, the site didn’t contain any of her actual stories because she still had hopes of having them published. “It was the kiss of death to put any fiction anywhere except through the traditional model, and I didn’t want to destroy my career before it started.”

. . . .

Hogarth became frustrated, and her new fan base became impatient. “It’s one thing to write work and hope that it finds its audience. But it’s another thing to have people saying to you ‘Where can I buy your stuff?’ and having to say ‘I’m sorry, I can’t convince an editor to publish more of it.’ In every other business, when you have demand, you should be rushing to fill the demand. And yet I could not convince anybody to help me fill that demand.”

She decided that although it might wreck her future career, she would share a bit of new material directly via the Internet—“something that I was never intending to publish in any other way, to keep fans occupied until I could find someone to put out the rest of what they were asking for.”

In 2004, she offered “Flight of the Godkin Griffin,” a sword and sorcery fantasy diary, directly to her audience via LiveJournal, then a popular social blogging platform. (Hogarth still actively connects with fans there, at haikujaguar.livejournal.com.) Each entry ended with a question about a minor thing that could happen next, and readers who donated could vote and have an effect on the upcoming scenes.

. . . .

 Hogarth sees her business orientation not in opposition to the dream of being a successful writer, but as critical to it. “The childhood dream of being a writer is ‘this is your career,’ and that implies that you are running a business. I had legal books on finances and freelancing and taxes even before indie publishing was a thing.” Although her work might not be easy to market to the mainstream—a small press editor once tried to pressure her into a contract by saying her work was nearly unsalable—she’s got her fans, whom she clearly sees as customers to be satisfied, and she’s careful to listen to them. “My bestselling books right now are those where I asked my readers, ‘What do you want more of? What do you wish I had written and I haven’t?’ I wrote them their asexual romance. Those books sell like hotcakes.”

Link to the rest at Publishers Weekly

‘Bieber’s Finger’ and other quirky fiction

22 November 2014

From The Ogden Standard-Examiner:

The old “sex, drugs and rock ’n’ roll” stereotype has nothing on the new science fiction novel by Kaysville author/musician/businessman Craig Nybo.

In “Bieber’s Finger,” Nybo has crafted a story about a super fan who just happens to catch the finger of her pop-singing idol when he’s killed in a car bombing — all of which happens in the first few pages. The rest of the book chronicles this 15-year-old groupie’s attempts to illegally clone the object of her affection and proceed to teach him to sing and dance so that he can perform at the upcoming Pan-Galactic Prom Show.

The 44-year-old Nybo calls it “death, resurrection and rock ’n’ roll.”

. . . .

Although Craig Nybo is the creative director at his Kaysville agency, his true calling is as an author.

“I am a professional writer,” he said. “And novels are really my first passion. Since I was a kid I have written stories.”

About four years ago, Nybo decided to begin self-publishing his books. He’s produced four novels so far, and the titles alone are worth the price of this young adult fiction.

Nybo’s first novel was “Allied Zombies for Peace,” a work that takes place within a 42-minute span of time at a 1968 Veterans Day parade in Columbus, Ohio. Basically, it’s zombies vs. the Ku Klux Klan, and it might be the first zombie story where people are actually rooting for the undead.

“That is true,” Nybo said. “I got to thinking, ‘Is there anyone out there worse than zombies?’ and I thought, ‘Oh yeah, there’s one group.’ ”

Nybo’s second book, “Small Town Monsters,” is more of a classic horror novel, along the lines of a “Salem’s Lot” — traditional, gothic monsters set in a modern era. He describes the book as “rednecks, beer, guns and werewolves.”

“It’s like deer hunting — with teeth — is really what it is,” he says.

. . . .

Nybo has taught classes on writing, and publishing, and he says the two rules for anyone self publishing are: Make sure your book is absolutely as good as you can make it, which includes getting outside help; and always sell it — never give it away.

“That’s what I’m always telling people,” he said. “Because if you give it away, it cheapens the self-publishing scene.”

With “Bieber’s Finger” and “Funk Toast,” Nybo says he didn’t even bother sending out a query letter to publishers.

“More and more I am less and less interested in a standard publisher or agent,” he said.

. . . .

“I’m pretty close,” Nybo says when asked if he’s living his dream. He gets to do a little bit of everything in the creative realm, and while he’s not exactly rich, he says money doesn’t motivate him.

Link to the rest at Ogden Standard-Examiner

Here’s a link to Craig Nybo’s books

The Unexpectedly Long Life of an eBook

21 November 2014

From author and TPV regular Catherine Czerkawska:

The Curiosity Cabinet started out as a trilogy of plays for  BBC Radio 4 back in the 1990s. Later, I rewrote it, with significant changes, as a novel but it took a very long time to find a publisher. It was some time in the late 90s, when I was looking for a new agent, that one of them called it ‘a library novel fit only for housewives.’ I wasn’t a newcomer in any sense. I had a long and occasionally award winning career as a playwright, as well as two published novels and plenty of non fiction behind me, so I could laugh it off.

But it still stung a bit.

Eventually, I secured representation at one of the bigger London agencies. My new agent told me that she liked the novel, but she thought it was ‘too quiet’ to sell.  Nevertheless, she sent it out to the big boys. I forget how many there were back then – certainly a few more than the current Big Five, but all the same, amalgamations were rife and the so called mid-list was definitely on the slide. Agents and publishers were already talking about the ‘decline of the mid-list’. One even cheerfully predicted the ‘death of the mid-list’. I knew in my sinking heart that I was a typical mid-lister. It was an invidious position to find yourself in. Back then, anyway. One of the acquisitions editors who responded pointed out that although she liked the book, they had ‘published something similar and it did less well than expected.’ Most of them said that although they liked the novel they ‘couldn’t carry sales and marketing with them.’ Or they ‘liked it but didn’t love it.’

Nobody wanted it.

Eventually, my agent suggested that while I got on with something a bit less quiet, I should submit the novel to a newish competition: the Dundee Book Prize. It seemed like a good idea. I wasn’t doing anything else with it, after all. Some time after the closing date for entries, I got a phone call. My novel had been shortlisted. Would I come to an event aboard The Discovery in Dundee, when an announcement would be made? The reception and dinner aboard Captain Scott’s polar exploration ship was very pleasant. We soon realised that the shortlist consisted of only three books, three authors. And at the dinner, we were happy to discover that all three of us would be offered a publishing contract although only one novel would win the big cash prize.

The Curiosity Cabinet didn’t, in fact, win that overall prize but it was published. That was in 2005. I seem to remember that the print run involved only 1000 trade paperback copies, albeit nicely done. There were one or two speaking engagements including the Edinburgh International Book Festival, and a three for two offer in a big chain bookstore. I remember all the excitement of seeing my book in several shop windows. But because the publisher was marketing these completely different novels and their authors as a threesome, we didn’t get much publicity. I sent a review copy to a popular Scottish TV presenter who gave me a ringing endorsement for the cover. ‘How did you do that?’ my publisher asked. The truth was that I had simply asked nicely, but I got the sense that their approval of the publicity was warring just a wee bit with their disapproval of such populism. A Scottish women’s magazine serialised it. They made an excellent job of the abridgement and paid handsomely.

The run sold out within the year and … that was that. There was no sign of a reprint. My agent told me that (to her surprise as well as mine because the relationship to that point had been friendly) the publisher had declined to look at anything else from me. My work didn’t fit in with the way they saw the company progressing. Eventually, I reclaimed my rights – a process which, to give them credit, they made remarkably easy. But I soon found out that in the world of traditional publishing it is far better to be a new discovery than to be a writer who has been rejected by her publisher.

. . . .

I think what really kept me going through that dark time was the response of readers. I was still being invited to give talks and readings, and people were always asking me how they could get hold of my books, where they might find more of my work. The problem was that they couldn’t. It was in computer files and printouts and a handful of out-of-print copies. There was a lot of it. I still remember the mingled pleasure and pain of hearing a friend – an enthusiastic reader – say to me, ‘You know, we don’t understand how this could happen. We love your writing, we want to read more of it and we think you’ve been treated very shabbily.’ Pity is never easy to accept but the emails I got from other readers, complete strangers, said much the same thing. ‘Haven’t you written any more fiction and why can’t we read it?’

. . . .

And then, along came Jeff Bezos and Amazon and Kindle Direct Publishing.

It wasn’t at all hard to decide to take my career into my own hands. In fact it seemed ridiculously easy. I had nothing at all to lose. My only regret was that it hadn’t happened sooner. I had been searching for something like this for years and had never been able to find it: a business partner who would facilitate distribution and let me get on with it, leaving the control of it in my own hands.

. . . .

So what happened after I began my self publishing venture? Well, since 2011 when I published it as an eBook, The Curiosity Cabinet has sold more copies than I would have believed possible. And it just keeps rolling along. I’m not making any fortunes from this and my other books – yet. But they add a small but healthy sum to my income every month. As I write this, the Curiosity Cabinet has undergone another spike in sales and in its category on Amazon here in the UK is sitting at #9.

. . . .

Most of all, for me, the Curiosity Cabinet illustrates the potential long life of an eBook. For my publisher at the time, it was over and done within the year (as was the writer!) It seems they must always be moving on to the next project and their next project didn’t involve my kind of novel at all. I’m forced to the conclusion that it was, for them, a sound business decision. But it wasn’t my decision and as it turns out, it wasn’t right for me or for this book either.

The fact remains that there are readers out there who still seem to want to read it. Lots of them.

Link to the rest at Wordarts

Here’s a link to Catherine Czerkawska’s books

Self-publishing’s vices and virtues

21 November 2014

From The Guardian:

Almost any discussion of self-publishing seems to attract an immediate hostility quite unlike the amused tolerance that greets those who, say, exhibit their indifferent watercolours, or seek to try out their wine-making skills on their friends. The discussion (I would hesitate to call it a debate) invariably and speedily descends to consideration of the literary merits of 50 Shades of Grey (whose author in any case disputes that it ever was self-published).

A report of research I presented to a recent publishing conference, challenging misapprehensions as to what sort of people are now self-publishing, provoked just such a lively correspondence. Of those interviewed for my study, 65% of self-publishers were women. Nearly two-thirds were aged 41 to 60, with a further 27% aged over 61. Half were in full-time employment, 32% had a degree and 44% a higher degree. According to my research, self-publishers tend predominantly to be educated and busy, and not self-publishing in retirement, bitter from a lifetime’s disappointment from the traditional industry.

. . . .

It is certainly true that many self-published books are not very good, but having been involved in academic research into the sector for the past five years I have come up with three main reasons why I think the output includes so much tosh – and also a case for a cultural value that is less easy to quantify.

. . . .

3. Success is not defined by the number of books downloaded or sold

Many authors, contrary to Salierei’s belief, are making money. Self-publishingauthors tend not to get in included in surveys of authors’ earnings, but Orna Ross, founder of the Alliance of Independent Authors, says: “Many of the association’s members are earning significant salaries now. I’m not talking here about the outliers, like the Kindle millionaires, but the many who are earning enough to leave their day jobs, feed their families, pay their mortgage, afford comforts and luxuries. And let us not forget that sales doesn’t just equal money, it equals readers. It’s one of my great delights to witness what this does for their confidence in themselves and in their work.”

The business model is also changing. Traditional publishing was a bit like a fishing game I owned as a child, with a stand-up cardboard frame and a rod for each player with a magnet on the end. Fish lay inside (and sometimes outside) the box, each accessorised with a corresponding magnet and waiting to be picked up – and provided you were in the right box, or close to it, you were usually found. Publishing worked in a similar way, from a scarcity model grounded in commercial principles, selecting titles to be published and protecting their value with copyright. Ross again: “Now we are working from an abundance model, grounded in creative principles. Excess and redundancy are no cause for concern. This is how nature, the fundamental model for all creativity, works: [it takes] a lot of acorns to get one baby oak. A lot of sperm miss out on the egg.”

. . . .

There are signs now that self-publishing is turning a corner – at last being seen as part of publishing in general. At its best it offers the traditional industry a new source of writing talent and a chance to take on material with readerships already established. In the process, it cultivates the kind of author proactivity that publishers need if they are to reach markets that are no longer predictable, due both to the proliferation of new media and the challenge to reading of so many other alternative leisure activities.

But it also allows people to create products that bring huge personal pride, even if they include a few spelling mistakes and grammatical errors.

Link to the rest at The Guardian and thanks to Bridget for the tip.

Why Amazon will never lose the book war

19 November 2014

From Quartz:

If you were looking for a simile to describe Amazon’s relationship with authors, you couldn’t do better than picturing Amazon as King Kong and the authors it desperately and clumsily wants to court as Fay Wray. One compelling reason for this analogy is that the courtship between brute and beauty was destined to leave a lot of collateral damage in its wake. The pointless, brutal fight between Amazon and Hachettte that ended somewhat abruptly late last week illustrates the point.

Amazon has been trying to get around publishers and win the affections of authors for some time. There were several strategic moves. Launching the Kindle—which coincidentally took place seven years ago today—was one. The ill-fated hiring of a voluble New York publisher in the hopes that his brash, big advances would entice authors to publish directly at “the world’s largest bookstore” was another. And the purchase of the Good Reads social network for book readers was the third prong in the company’s attempts to build a Platonically ideal publishing platform.

Looking at Amazon’s actions from the outside, the thinking seems to be that the company can rationalize the deeply fickle and irrational book business.

The problem isn’t that Amazon’s strategic thinking is wrong. On paper, authors get a lousy deal from their publishers and Amazon is in a unique position to improve the economics for authors, as it has done with the many genre writers who now publish on the Kindle platform. If you’re an unknown, or write in an unfashionable but popular genre, no New York publisher populated by hipsters is going to get excited and give you a big advance. You’re better off showing your moxie and reaping the rewards of a 70% Kindle royalty rate.

. . . .

Although the transformation is not taking place fast enough for Amazon, the retailer continues to expand its influence over the book market. Lower ebook prices—exactly what Amazon wanted and what Amazon has said they will incentivize the publisher to provide—will only accelerate that trend.

As much as Hachette wants to defend its prerogatives and shore up its physical books business, its profit margins lie not in the choice of format (ebooks are of course much more profitable for publishers because the authors receive a lower royalty and there’s no incremental cost for each additional book sold) but in the publishing house’s ability to generate hits.

. . . .

 Amazon thinks its over-sized royalties should be more than enough to attract authors. (And King Kong thought he and Fay Wray had a future together.) Those royalties are an extension of Amazon’s overall low working capital approach to business. But what authors get from publisher’s advances is more than money. It’s validation, encouragement and support. Those are the human emotions Amazon has to satisfy in order to woo authors into its new version of the publishing business.

Link to the rest at Quartz and thanks to Michael for the tip.

So emotionally-needy authors should go with traditional publishing and self-confident authors should indie pub. PG says the best validation is earning good money from your books and writing what you want and when you want with nobody bossing you around.

50 Shades and the new queens of self-publishing

18 November 2014

From The Independent:

New academic research has shown that, far from the stereotype of the eccentric hobbyist scribbling away in the garden shed, most self-published authors are now well-educated professionals in their 40s and 50s.

As the Fifty Shades of Grey effect continues, with a movie version of the bonkbuster starring Jamie Dornan and Dakota Johnson on its way to cinemas here, more and more middle-aged women, in particular, are following in the footsteps of EL James by putting pen to paper and publishing the resulting manuscript themselves, it found.

Nearly two-thirds of all self-publishers are aged 41 to 60, according to the research by Alison Baverstock, an associate professor in publishing at Kingston University; the vast majority – 65pc – are women, and 44pc have a higher degree.

Flogging more than 100 million books worldwide, James, said Baverstock, is proof self-publishers “really know their audiences”, and that traditional publishers “are not necessarily in touch with popular taste”.

. . . .

Despite being approached by two well-known Irish publishers about her first young adult fiction novel, Lydia decided to release the title online through Kindle Direct Publishing, followed by a print edition last year.

“Basically I got impatient with trying to publish it the traditional way,” explains the 43-year-old. “I went from trying for a year and a half to get it published to becoming a published author overnight.

“I’m a bit of a Luddite, so I presumed wrongly it would be incredibly difficult – but it was so easy. I just wrote my book in [Microsoft] Word format, created an Amazon account and literally uploaded my file.

“It doesn’t cost anything, and you get between 35pc and 75pc [of sales] depending on the region.”

. . . .

With self-published books now representing 31pc of ebook sales on Amazon’s Kindle Store however, for many writers, going it alone is no longer just an indulgence.

Having gone from published author to self-published author, mum-of-one Marisa Mackle knows all about what it takes to become a bestseller under your own steam.

With the help of a publisher, her debut novel Mr Right For Night sold 4,000 copies in two weeks when it was released here back in 2002. Self-published on Amazon nine years later, it knocked Fifty Shades of Grey off the top of the book charts in Germany.

“Normally, when you have that kind of success with a publisher, you stay with them,” explains Marisa (41) from Dublin. “But I just wasn’t happy. I couldn’t choose the cover and only found out when the book was being published on Amazon. There’s constant pressure: ‘How are you getting on?’ ‘Are you nearly finished?’ As a self-published author, there’s also terrible pressure, but at least it’s my own pressure.

“Being a No1 bestseller in Ireland, you may as well be working in McDonalds,” she adds. “When I was with a publisher, I got 6pc [in royalties] – now I get 70pc.

“Some writers will be horrified by this, but for me, selling a book is like selling a bar of soap. There’s no point publishing a book if only your mother is going to buy it.”

Link to the rest at The Independent

Self-publishing vs. traditional publishing: How to choose?

18 November 2014

From The Miami Herald:

By the time John Kennedy Toole won the Pulitzer Prize for his great American novel, A Confederacy of Dunces, he had been dead for 12 years.

Toole reportedly killed himself in part due to years of frustration over unsuccessful attempts to get his outrageously funny book about New Orleans published. It was only after his mother browbeat author Walker Percy into taking up the cause that Louisiana State University Press published the book in 1980. The following year, it won the Pulitzer for fiction. It went from being considered a cult classic to a must-read: More than 1.5 million copies of Toole’s book have been printed, and it has been translated into 18 languages.

“I think if he were alive today, he might not have been so despondent,” says Mitchell Kaplan, president of Books & Books and co-founder of Miami Book Fair International, which this year will feature a discussion panel on the monopoly of publishing. These are exciting and challenging times for authors both emerging and established. Many of them are blazing their own way, creating a brave new world for authors who will not be denied. The old “publish or perish” mantra may eventually have more application to the existing publishing houses than the authors, who are seeking innovative ways to get their books to readers.

Toole or his mother may have found a way to bring his book to press, were he writing today, Kaplan speculates. “My point is that people might not kill themselves to get published today. They would go self-publishing. Self-publishing does not have the stigma today.”

. . . .

The first thing to know about getting your book published today is that there is no set road map to doing so. You can go the traditional route of joining a writers circle and asking writers for help in securing a literary agent. You can write to agents and publishers with a blitz of mailings, which can be time-consuming and expensive, not to mention irritating. Or, you can forge your own path, as so many are doing today.

Neil Flanzraich of Coral Gables did just that when he decided to publishGeniuses, a young adult book about the fight for world domination by good and evil individuals with extraordinary mental powers. The pharmaceuticals executive and director of Chipotle Mexican Grill didn’t want to spend a lot of time courting agents and publishers. “I know the odds of finding a publisher, with thousands of submissions, is not good,” Flanzraich says. “So, I decided to publish it myself.” Now he’s working on the sequel.

. . . .

“You can spend 10 years of your life trying to write that novel that’s great enough to get a big deal and get a huge push, and you might have to write six or seven novels before you write that book,” [Hugh] Howey says of the traditional publishing industry. “Or, you have to work on that one novel for 10 years before you write something that gets a huge push by a big publisher.

“My thinking was, that’s a lot of years to spend on the sidelines,” he says. “I would rather do what musicians and artists in other media do, and that’s get your book out there, perform, and work your way up slowly. As the audience grows, your talents will grow, and the stage will grow for you. That was my thing going in. I would much rather have my works available and have a small audience than labor in obscurity to try to win over the right editor that would give me that big contract.”

Link to the rest at The Miami Herald

On this day four years ago… I self-published for the first time.

17 November 2014

From author Marie Force:

To mark this amazing anniversary, I thought I’d share the story behind how I came to try self-publishing for the first time… I wrote seven books before I sold one in 2007 and ended up doing three books with my first publisher, who wasn’t interested in the other books I had written. They rejected most of my earlier books, including Treading Water, True North, Fatal Affair and Maid for Love. Fatal Affair later sold to Carina Press, and the Fatal Series has had a happy home with Carina and Harlequin since 2010. But I had all these other books already written and no one was interested in publishing them. I had readers asking for more of my books, and we were trying to sell them, but the rejections kept on coming. In the summer of 2010, I came close to selling True North to a big NY publisher. My agent and I really thought it was going to happen until we received the rejection that contained the nine words that changed my life: “No one wants to read about a super model.”

. . . .

The True North rejection led me to investigate the new trend of self-publishing through Amazon’s new Kindle Direct Publishing program. At that time, it was a risky proposition for an author who had books coming from two different publishers a few months later.

. . . .
So on Nov. 17, 2010, I self-published True North quietly and without any fanfare. A month later, I self-published The Fall. I sold about 50 copies of True North in the first month and maybe 150 of both books the next month. A free offering of an earlier book the following February, gave a boost to all my books, and my self-pub numbers really took off. I sold nearly 7,000 copies of both self-published books in February 2011. I self-published The Wreck in March, the first month in which I sold more than 10,000 books in a single month. Maid for Love was released in April, Fool for Love in May, Ready for Love in June, Georgia on My Mind in September, Treading Water in October, Marking Time in November and Starting Over in December. I ended 2011 with 650,000 self-published ebook sales and on the last day of 2011, I left the job I’d had for 16 years to write full time.

Fast forward to the end of 2014… Every book I’ve written is now on sale–all 37 of them (22 are self-published). I’ve sold more than 3 million copies of my books, mostly in the last three years.

. . . .

 Oh and about True North…. It has sold close to 75,000 copies in the four years it’s been on sale, and the dedication now reads: “To the editor who famously said, ‘No one wants to read about a super model,’ thank you, thank you, THANK YOU. A MILLION times over, thank you.”

Link to the rest at Marie Force

Here’s a link to Marie Force’s books

Why you Should Buy Indie eBooks and Avoid Traditional Publishers

13 November 2014

From author Rebecca J. Vickery via Good Ereader:

Reading is making a comeback around the world due to new technology in a variety of ebook readers and apps for cell phones, tablets, and computers. Ebook sales are growing every day. People who would never have considered writing a book are giving it a shot, adding ever more choices to a crowded marketplace. Even authors from traditional publishing are fighting to provide the next ebook “bestseller”. Sadly, there are some readers, reviewers, and columnists who refuse to give Indie Authors a fair trial and continue to support traditional publishing as the only way to find a well-written book. Happily, there are innumerable readers who disagree and are not only buying books written by Indie Authors, but refuse to purchase books from traditional publishers any longer. Let’s explore why.

Traditionally published ebooks are expensive. Even though printing, shipping, storage, and buy-backs are no longer part of the cost, traditional publishers are charging premium prices for their ebooks.

. . . .

Another reason to avoid traditional publishers is they tend to follow the leader in choosing what to publish, regardless of what readers are buying or requesting. They have flooded the market with erotic thrillers, vampires, quests, tell-all memoirs, how-to this or that, and most recently non-fiction political ramblings. Based on expensive market analysis, of course, but their market must be in downtown New York or San Francisco, when it should be on Average Street. Indie Authors, on the other hand, live on Average Street in Small Town. They know what their neighbors, friends, and blog followers are reading.

. . . .

The most important reason to buy Indie Author ebooks is the majority of what readers spend actually goes to the author rather than to a publishing conglomerate.

. . . .

Join those of us who are tired of being dictated to by a few large traditional publishers, snobbish reviewers, and uninformed columnists, and buy ebooks published by real people for real people – Indie Authors.

Link to the rest at Good Ereader and thanks to SFR for the tip.

Here’s a link to Rebecca J. Vickery’s books

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