destigmatizing self-publishing
what literary authors can learn from indie authors
Let’s say you spend two years writing your novel. You spend another year querying between 50 and 100 agents until you find The One. That agent takes your book on submission. At first, there is a wave of excitement and interest. And then a pile of glowing rejections from editors who call you an “original talent” but who can’t make an offer; they hope to see your work again in the future (ha ha ha if I even survive this, you think to yourself). Your agent tries Big Five imprints and indie publishers. She tries academic presses. She’s so, so, so sorry it didn’t work out this time, but it happens to a lot of writers, and it’s time to put this novel in a drawer and write a new book.
In this scenario, would you consider self-publishing the novel that didn’t sell?
Most writers I know would answer no.
Among literary novelists especially, self-publishing is looked down upon. If you haven’t been chosen by industry gatekeepers, the message is try, try again. Fail better. Make Beckett your mantra. Self-publishing lacks prestige. If anyone could do it, why would you? You’re special!
In the literary community, it’s more of a badge of honor to talk about the seven books you couldn’t sell than to talk about the one book you self-published.
But I’ve been picking up on a vibe shift around self-publishing, as the creator economy makes it possible for savvy writers to earn income directly from their audience.
Last summer, Caroline Calloway made headlines for self-publishing a memoir she bought back from its original publisher. Here’s an interview she did with
about how much money she earned selling directly to fans. Calloway hired her own PR and got more mainstream press coverage than her ex-BFF Natalie Beach, whose essay collection was traditionally published simultaneously.Calloway changed the image of self-publishing for me. She made it look weird and creative, akin to making and publishing zines in your bedroom. She made it look possible to self-publish something other than minotaur erotica.
I’m not here to persuade you to self-publish the novel or memoir that you put in a drawer. But maybe this newsletter will plant a question in your mind: could you?
I also think that traditionally published authors (including me) can learn a lot from indie authors, who have to approach their writing careers with an entrepreneurial mindset.
And that’s why I’m delighted today to bring you an interview with indie romance novelist Libby Waterford!
Libby Waterford is the author of the Sawyer’s Cove: The Reboot and the Never a Bride series. She has taught craft and self publishing classes for the Westport Writers' Workshop, Women's Fiction Writers Association, Contemporary Romance Writers, and many more.
1. How did you get started in indie publishing? What inspired you to greenlight yourself, as Brooke Warner might put it?
I dove into indie publishing in 2020 after I spent seven years absorbing everything I could about the publishing industry. I learned about the editorial process firsthand from going with a small press for my first four romance titles, then I sought out as much information as I could about self-publishing. I loved the idea of retaining control over my books from design to price. Once I felt comfortable in my ability to put out a high-quality product, I finally took the plunge with the first book in my Never a Bride series, Can’t Help Falling in Love.
2. From what I can tell, the romance community seems inclusive of indie authors in a way that I haven't seen in lit fic world. In fact, it's hard for me to even think of self-published literary novels. I think most literary novelists would put a novel that didn't sell in a drawer, before they would self-publish it. But I wonder if this is changing, with the rise of digital platforms like Substack and Patreon that allow writers to be in a direct relationship with their audience. Can you talk about why indie publishing is more common in genre fiction? And how is Romancelandia, in particular, a good place to be if you're an indie author?
Readers of genre fiction are loyal to series, tropes, and authors more than to publishers. Most readers don’t notice or care who published the book as long as it’s in an attractive package and delivers a satisfying story. And genre fiction authors, especially romance authors, can write and publish at a rapid pace to meet reader demand without having to wait on publishers’ sometimes lengthy timelines.
Romancelandia is often at the forefront of new marketing strategies and technologies, like Patreon. Many romance authors have leveraged subscriptions services like Patreon to diversify their income and create robust reader communities. Also, as a community, Romancelandia is also known for sharing knowledge and supporting each other. For the most part, romance authors don’t see each other as competition. We know how many voracious romance readers are out there and we all want to see each other, and the genre, succeed.
3. On my recent post, "how would they promote your book if you were dead?," you left this comment:
I think it can be helpful for an author to put some physical or mental distance between themselves and their marketing efforts. It's one of the reasons I embrace writing under pen names--it's easier/safer to conceptualize marketing for my writer self as a clearly defined brand than for my actual self.
How do you use pen names in your writing career, and what is your strategy behind writing multiple series of books?
Pen names allow me to develop a brand that matches the subgenre of romance I write. Libby Waterford writes primarily steamy contemporary m/f romance, while Elle Waters writes steamy contemporary small-town m/m romance. Having a specific type of book associated with each pen name clarifies my marketing efforts. On the other hand, maintaining multiple pen names can get onerous and time consuming. But I like putting on my “Elle” hat or my “Libby” hat and getting to be a specific version of myself while I’m writing or marketing.
Regarding series, they can be easier to market and advertise than stand-alone titles. They also provide a clear path for the reader once they discover a new author. If a romance author can break out with a single title via BookTok or other word of mouth methods and they have a robust backlist, that can propel them to a new level of success.
4. What is your favorite part of being an indie author?
Besides the sheer joy of getting to write literally whatever I want, my favorite part of being an indie author is the moment when I upload my finished book to the retailer sites and hit publish. It’s the purest moment of feeling like I have control over the distribution of my work—I chose to write and publish this story and now it’s out in the world for people to hopefully enjoy. I’m so honored and pleased when readers choose my books to spend their time and money on.
5. What is one thing that you think traditionally published authors could learn from the way indie authors approach their writing careers?
Indie authors are truly solopreneurs. We have all the burden of editing, packaging, and marketing our books, yet retain control over all the stages and are able to create our own teams to bring the best possible product to market. Many of the tasks that fall on indie authors also fall on traditionally published authors, but they have less control. I suggest that traditionally published authors treat their book contracts as just one aspect of their overall career. Consider what tasks you will need to take ownership of to ensure you have the kind of publishing career you want to have. It’s a mistake to think a book contract means taking your hands off the wheel of your career.
If you are curious about self-publishing but don’t even know where to begin, Libby is teaching an online class for me on September 25th!
In this two-hour session, you’ll get a top-level view of what it takes to self-publish today. Whether you're hoping to publish a novel, a memoir, or a non-fiction title, learning about self-publishing can clarify your path to publication. Libby will cover practical topics like knowing when your project is ready to publish, working with editors and designers, how to package, format, and distribute your book, and how marketing fits into the picture. We'll also talk candidly about what all of this costs in dollars and time. Self-publishing allows you to retain control and can enable a sustainable publishing career, but it requires commitment and an entrepreneurial mindset.
Click here to register
Stein v. Biden
Last Sunday, I made a big splashy announcement about selling my sixth book to Ballantine and launching paid subscriptions on Substack. About ninety minutes after I published my newsletter, Biden dropped out of the race.
Welcome, ladies and gentlemen, to the “attention economy.”
My book deal announcement was competing with a lot of national news this week, but it actually felt very gratifying to know I have a novel coming out that’s all about anxiety around aging and intergenerational conflict. Just call me Ahead of Her Time Stein.
It was also EXTREMELY exciting to see
mention my book deal announcement in his guest post for .
Thank you so much to everyone who upgraded their subscriptions last week! I know there is a LOT out there competing for your attention (and your wallet) and I really appreciate that you trust me to give you honest advice about the internet side of book publishing. Here are just a couple of the warm notes I got this week:
said:said:When I open Attention Economy, I always think ahhhhh, sane advice that addresses both the creative and strategic business side of writing! So grateful for your (singular, practical) voice, and excited for your next book
A one-hour consulting session with Leigh gave me more actionable insight about how to navigate the current publishing industry than two years of workshops, Q&As and conferences. I was working on a memoir about a life-defining grudge, polishing and re-writing in hopes it might be good enough. I'm still working on the memoir. I'm also writing a free newsletter about grudges to build a platform.
(Danny’s newsletter is about grudges, one of my personal obsessions, and you can check it out here)
What agents are looking for on Substack
My paid subscribers get access to my new Chat Room conversation series with book publishing insiders.
The first Chat Room will be with literary agent Iris Blasi, on August 6th at 8pm EST, about what literary agents are looking for when they’re scouting for writers on Substack. If you can’t attend live, you’ll have 7 days to view the recording.
Upcoming guests include:
Kate Napolitano, recently promoted to editorial director of non-fiction at Atria
Windy Dorresteyn, Vice President, Director of Marketing at Random House and Hogarth
Mackenzie Brady Watson, literary agent
I 'm a trad author who got the rights back to my backlist and published them myself. I was shocked by how much money I made. When I suggested to a literary author friend that he do the same with his backlist, he acted insulted, but I think attitudes are changing. I've been around for over 20 years and have seen a lot of upheaval in publishing, but nothing like what's happening now. When I was launched, I got tours and co-op and full-page ads in USA Today. Now that is happening very rarely and if you're a midlister, it's hard to see what publishers can offer you that you can't mostly do for yourself. Mostly it depends on your goals of course. I enjoy that people are now discovering books that are 20 years old and that every month money is deposited in my account, and there's no murkiness about the accounting. I enjoy re-branding books when sales dip. I care less about being in Barnes and Noble or hoping that one of the remaining outlets will review me.
I am one of those literary writers who has written multiple literary novels and seems to be waiting and waiting for the one that will be published. My first three were represented by agents and were rejected for various reasons despite all of the glowing feedback. They are in drawers. My fourth novel which is more recent is on submission now to literary agents after my long-term agent said she just couldn’t sell it because it is partly speculative and partly literary (think Cloud Atlas). Also it’s quite big. 😨
I do think that I have been stubborn in refusing self publishing routes partly out of a desire for industry approval, partly due to the challenges of routes to market when self publishing, and partly because I just simply had time to wait and write and wait.
Now I am 50 and I have to say, there are people in my life who are sick, people who are dying, and I am beginning to reassess my stance and think well, I don’t really know how much time I have, and maybe it’s better to throw myself into self publishing and see my novel published in my lifetime then to continue to wait and wait and wait. The jury is currently out but I think I will attend this webinar thanks!