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In 1999 when I published my first novel through a Print On Demand company, I knew nothing of the publishing business and didn’t think much beyond wanting to have a book in my hand to share with potential readers.  As time passed and I began to realize all the handicaps the industry puts on POD authors (distribution challenges, refusals by reviewers, lack of interest in booksellers if your books aren’t fully returnable, etc) I began to aspire to bigger and better publishers. 

I imagined an alternative track to submitting for 20 years until I found a publisher who liked my work.  After mastering the learning curve of POD I moved to true self-publishing.  I thought that after demonstrating how hard I was willing to work to sell books, and with a track record of sales, I would be more attractive to publishers.  And I did manage to place a book with a small press, which did wonders for me from the distribution angle.  I also got the attention of a New York agent.  I figured the next step would be a major commercial publisher.  However…

After long talks with my agent and several others I have finally had to accept what I think of as the “Inconvenient Truth” of the publishing world.  It is certainly something I wish I had heard sooner, and it is something that POD Publishers and all those people who make money marketing products and to POD and self-published authors would NOT want you to hear.

I’ve been told that some agents automatically reject any manuscript from an author who wants to step up to a bigger house, or wants a chance at a wider readership once he or she is already published.  These agents say that publishers prefer the unknown risk of a debut author to the known potential of an established author, even if that author has shown the know-how and willingness to promote his or her work.  Sales matter, of course, but unless that writer has sold more than 50,000 copies they have no interest.  My own agent corroborates this generally held feeling among major publishers.

For years I’d heard that large publishers would pick up books that had been successful at a small house or POD, but until now no one ever defined “successful” for me. (The particular agent that offered that number, Janet Reid, was speaking in the Sisters-in-Crime newsletter.)  I find this puzzling because I know that average royalties at a big commercial house would only pay a writer about $1.75 on a hardcover book, and that advances below $10,000 are common.  That means the writer would “earn out” after about 6,000.  So how does 50,000 copies become the cut-off for “success?”

Agents also report that most publishers aren’t interested in taking on a series that is already started. They might look at a new series by an author with a series already published, but only if they see the new series as potentially a big breakout hit.

So the advice from these agents is, keep submitting everywhere because if you self-publish, publish POD or even go with a small press it could spike your chances at a career as an author for one of the big houses. Ms Reid says that until you’ve queried 50 agents with three separate books, it’s too soon to consider the other options.

Of course, It’s hard to say to what extent this is information that small presses and POD companies have and don’t want to share since their livelihood is based on getting writers to publish with them. There is also quite an industry that has sprung up around selling products and services to self-publishers and POD authors. They don’t want you to think it’s pointless, or worse, counter-productive to try.

But it’s also hard to say to what extent this information is self-serving for the agents, whose livelihood depends on selling manuscripts to companies that pay an advance big enough to make 15% worth having.  As there are no disinterested parties in this business, we must all still use our best judgment: publish now and risk never being considered by the big guys, or keep submitting, knowing that you may never be considered by the big guys.

My point (and yes, I do have one) is that if, like myself, you have chosen the former approach, then don’t publish like you’re waiting for the big publishers to find you.  This should not be a case of settling for a nice enough guy while you’re waiting to meet Prince Charming.  My attitude about publishing, to paraphrase Eminem, is that success is my only option, failure’s not, so here I go, it’s my shot, and it may be the only opportunity that I got.

So whatever form (or forms) of publishing you’ve chosen, commit to it whole heartedly, study publishing, and adopt the right divided mind set.  You must think like a business man or woman, but you must also have the mental attitude of a published author.  I never apologize for the way my books are published.  In fact, I never refer to it unless asked because to readers the difference is transparent.  My books are produced by “a fairly small publisher,” even if I’m talking about the books produced by Intrigue Publishing which is wholly owned by me and my wife.

At home you’re a business person.  Evaluate every marketing decision based on the success of others, not on what a salesman or publicist will be cool.  Should you do a blog tour – have a video trailer produced – pay to get on radio shows?  Talk to people who have books like yours and ask them if they made sales that way.  And if you’re not an expert, hire one.  I don’t design covers, or the inside of books.  I hire professionals to do that.  And I don’t book personal appearances.  I pay someone to do that too, but I pay her by the booking so if I don’t get signings she doesn’t get money.

In public, you’re a published author.  Are your books in bookstores?  Of course.  Are they in libraries?  Same answer.  Who did the cover?  How would I know, I’m just the author.  The publisher determines that stuff.  Who wrote the stuff on the back?  Same answer.  When will you be in hardcover (paperback, e-book, audio book, etc?)  When the publisher determines it’s time to do that.

By the way, most commercial fiction authors are expected to “drop” a novel a year. This makes good marketing sense. Nothing drives the sales of a first book as much as the publication of a second or third novel. Publishers give these authors a set schedule that only leaves four months for writing and another four months for the editing process.  Know why?

These writers are expected to spend the same amount of time, four months out of the year, on a circuit of book signings, conference appearances, and television/radio interviews. In other words, they are expected to spend as much time marketing their books as writing them. If that model is so popular among the big publishers, there must be something to it.  If you want to push your sales to impressive levels, I suggest you do the same. It’s a lot of work, but it’s also very rewarding. And I’ve found a lot of it to be great fun.

For passive marketing, join some writer’s organizations.  Write articles for both print and on-line publications to get your name out there.  Build a strong web site.  Use other free web sites like Authors Den.  Have a presence on social networking sites like MySpace.  Produce a podcast.  Send out a newsletter.  Get business cards, bookmarks, brochures and post cards to distribute.  Send review copies to the right places.

For more active marketing, do readings and signings in as many places as you can: bookstores, coffee shops, writers conferences, fairs and festivals.  Get on panels at writers conferences.  Speak at libraries.  And learn how to present yourself and your book so that people will want to know you and read your work.

And finally, think outside the box.  Come up with an idea I haven’t thought of.  That can pay off in more ways than one. 

THE CONTEST!

Send me your best tips on how to market full length fiction. I will feature the best three in my newsletter and on my blog – Another Writer’s Life. The best three entrants will each receive a copy of my book, and the one who sends the best tip will also receive free business cards from Iconix.biz as well as a $50 gift certificate toward bookmarks, a book cover or any other service offered by Iconix – the company that designed the cover of Successfully Marketing Your Novel in the 21st Century.

To enter, just go to http://www.intriguepublishing.com/sfmyn.htm, click the “enter” box and send me your ideas.