The self-publishing boom has happened and it’s here to stay. Options are increasing for writers choosing to take ownership of the publication of their books, and so are opportunities for editors.
Many self-publishers are writers who have not managed to seduce the necessary gatekeepers stationed along the traditional publishing route – not necessarily because their writing is not of publishable quality, but because the publishers don’t believe in their potential to make money in the market. Fair enough – publishers are businesses, after all.
Now, though, writers can choose to take their own risks.
Many writers decide to self-publish simply for the freedom of it all. Some even decide to leave their publishing houses and go it alone because they see it as the better option. (Hello, 70% royalty …)
Rising quality, rising numbers
No longer seen as a practice in vanity, many self-publishers are now fully aware of the challenges they face, and how best to overcome these challenges. As a result, there is a new breed of independent (indie) authors: they are both literary creatives and publishing entrepreneurs.
Did you know …?
- Self-published books’ share of the UK market grew by 79 per cent in 2013*
- 18m self-published books were bought by UK readers last year, worth £59m*
- The Big Five traditional publishers now account for only 16 per cent of the e-books on Amazon’s bestseller lists**
* The Guardian, ‘Self-publishing boom lifts sales by 79% in a year’, Jun 2014
** Author Earnings report, Jul 2014
According to an article posted on Publishing Perspectives (Oct, 2014), literary agent Andrew Lownie believes that in 5–10 years, 75 per cent of books will be self-published, 20 per cent assisted by agents, and only 5 per cent traditionally published. Whether he’s right or wrong is another matter, but it just goes to show how much of an impact the independent author is having on the publishing world.
A wealth of resources
Technology is the catalyst for these opportunities. The e-book format and print-on-demand (POD) services like Smashwords and Lulu provide affordable production. Companies like Amazon, Apple and Barnes & Noble provide the marketplaces. Every service in between, from editing to cover design, can be found online, and through new marketplace websites, too, such as Reedsy.
And with the Internet, indie authors have a wealth of information at their fingertips. Not sure how to get your book on the shelves at Waterstones? Or perhaps not sure whether you need to buy an ISBN (or that you know what to do with it)? Never fear, Google is here.
A digital revolution
The Internet is a big deal. I mean, it’s a serious game-changer – in so many ways, but especially for the publishing industry. (Truth be told, I don’t think traditional publishing houses have quite caught up yet.)
At the click of a button, people can access the specific information, entertainment or inspiration they’re looking for. This means that businesses no longer have to go hunting for punters in the old, traditional ways (posters, flyers, radio adverts), because those clients are actively seeking them out.
Instead of a scattergun approach to marketing (least effective), businesses can use targeted pull-marketing (most effective).
What does this mean for the independent author? Well, instead of spending all their time writing alone in their studies, they are now able to connect to their readerships online – through social media, blogs and websites.
Remember the publishing house that was concerned there wasn’t a market for that book? Doesn’t matter, because the indie writer can build their readership from the ground up. That’s the power of the Internet.
What does this mean for editors?
In a word: opportunity.
Self-publishers used to have a bad name. Some still do – but it’s no longer a sweeping generalisation. In the end, poor-quality books will sink and good-quality books will rise. Indie authors are cottoning on to that – and they understand they need to invest in their own quality control.
That’s where we come in.
Sophie Playle, of Liminal Pages, is a freelance editor who specialises in fiction and often works directly with writers. She has an MA in creative writing and has just had her SfEP membership upgraded to ordinary (soon to be professional) member. You can follow her on Twitter.
Proofread by SfEP associate Ravinder Dhindsa.
The views expressed here do not necessarily reflect those of the SfEP.