Why One Author Chose Traditional Publishing--And How to Decide if it's Right for You

Roni Loren's blog Fiction Groupie has been one of my favorites since I first began reading blogs. I was so happy for her when she signed with her agent, Sara Megibow (who is with one of the classiest, most pro-author agencies around, the Kristin Nelson Agency.) Then I was even happier when she got her book deal. 


As most of you know, I turned down an offer of representation last fall and decided to go the small publisher route so I could keep more control. It's working very well for me and I'm about to launch book #5, THE BEST REVENGE--the prequel to my comic Camilla Randall mysteries.


Ruth Harris has happily gone from the Big 6 (as an editor as well as author) to self-publishing, and we've talked a lot about the indie Kindle revolution. We had a popular post from Rick Daley in October, "When Landing an Agent Lands You Nowhere" telling what it's like to be represented by an agent who can't sell your work.


But lest Ruth and I seem to give too much weight to the "Self-Aggrandizing Self-publishing Monarch-persons," I decided it was time to hear from an author who is comfortable with the traditional publishing process. There's a lot of snarky "us vs. them" talk that goes on in the blogosphere, so I wanted to offer a positive view of traditional "legacy" publishing for those of you who are still holding onto that dream. If you read Publisher's Lunch, you'll see that deals are still being made for debut authors every week, and New York publishing is still alive and well. Not everybody is cut out to be a "wrublisher" or deal with the seat-of-your-pants world of small presses. So here's Roni with a great "can't we all get along" message for the Holidays. She is so right: don't let anybody criticize your dream!

Why I Went Traditional and 

7 Reasons Why You Should (or Shouldn't)
by Roni Loren

First, I want to thank Anne for having me over here at her fantabulous blog. I always learn something new when I stop by, and I love her philosophy of slow-blogging (even though I have yet to take it up myself, lol.) And Anne and I are both traveling on similar journeys with our books coming out, yet we've gone about it different ways. So Anne asked me to talk a little about the journey to debut authorhood from the perspective of someone who chose the traditional route.

There is some polarizing going on in the writing world lately. People in general like to take sides on issues and writers are no exception. Plotter or Pantser? Fast Drafting or Edit-As-You-Go? Literary or Genre Fiction? Man, we love to debate.

And most recently the topic on the docket is Indie vs. Traditional publishing. Both "sides" are guilty of hocking loogies at the other. Traditional pub people complain about the lack of quality in self-pubbed stuff, they fuss about Amazon, they lament about ebooks and missing the smell of paper. (Dude, WHY is everyone smelling their books?)

Then indie pubbed people talk about how traditional authors are letting themselves get totally screwed, they refer to Big Publishing like they're evil overlords, and they talk about how so many horrible books get published traditionally every day. "Look a typo! In a Big 6 book! Gah, the crap that makes it out! Editors aren't editing anymore!"

I'm not going to go into the whole debate because that's already been done well by Bob Mayer--read his post Writers For Traditional Publishers=Slave? Indie authors=f**kwad. Come on!.

But here's the thing I want everyone to hear: WE ARE ON THE SAME TEAM

Writers are writers. Day to day we do the same things. And unless you're one of the BIG TIME multi-million dollar deal writers, we're ALL underdogs. We all have an uphill battle trying to sell books in a crap economy to a public who is reading less and less every year and who would rather a new app than a new book.

And you know what? How we do that is just a detail. Yes, if you go indie, you're going to have different challenges than if you go traditional. But the reverse is also true. Each path has it's own pros and cons. And the beauty of this whole thing is...

Your dream doesn't have to be the same as my dream.

So stop wasting time with these debates on who's right, who's better. Worry about what is best for YOU and your career. What path is going to fit your needs best?

Not sure what path is better for you? 

~Some key things to consider~

1. Validation - How deep is your need for validation from professionals?

This was a component for me. Part of my dream was to hear from an agent and a respected editor that my writing was good enough and that they believed it was worth paying money for. I found it enormously validating to know that Nelson Lit got 36,000 queries in 2010 and only signed 9 clients and I was one of them. Maybe that says something negative about my self-esteem, but that was part of my dream. Indie publishing would not have given me that. 

However, if you don't need that kind of validation. If you only need to hear from readers who love your work, than that part of traditional publishing doesn't offer you any additional benefit, so maybe indie is the way to go.

2. Deadlines - Do you find them motivating or restrictive?

Working on a deadline can be stressful. And working on someone else's time table is WAY different than your own self-imposed deadlines (like Nano or something). Self-imposed deadlines don't have true consequences beyond a little disappointment or guilt. But deadlines with traditional publishers are part of a legal contract. They are a big deal. 

I do get stressed knowing I have a deadline, but I also find it very motivating. It's taught me to reaarange priorities and not to slack. But if your creativity shuts down under a deadline, then this is a con of traditional publishing. If you indie pub, you set your own schedule.

3. Marketing - Can you balance this with writing?

Let's face it, even in traditional publishing, a lot of your marketing is up to you. I am fully responsible for building my online platform, for blogging, tweeting, getting the word out, blog tours, etc. But there's no denying that I get in some doors that would be much tougher if I were indie pubbed. My book automatically gets reviewed in RT Book Reviews magazine because they review all Berkley Heat books. I was in the Breaking In feature in Writer's Digest magazine this month because I have an agent who helped me with that. I get into the bookstores. I have a publicist through Penguin. My book was selected for Rhapsody's Book Club. I have someone working to sell my foreign rights. All of those things are possible for indie authors but there would have to be a lot more hustle and work for an indie author to get those things.

So I see this as a big pro for traditional publishing. I want to have time to write. I'm not an overly aggressive person, so trying to get my foot in the door for promotion doesn't jive with my personality.

4. Genre - Do you know where you would be shelved in the bookstore? 

I write erotic romance. It's a clearly defined subgenre that sells well. I know exactly where I would be shelved. And that's what a publisher wants. They want to know when they read your book exactly how they would market it and to which kind of readers they would sell it to. When I queried Sara, I said in my query "This story would appeal to readers of Shayla Black, Lauren Dane, and Maya Banks." (Note: I didn't say mine was just like theirs or better than or any such nonsense. I just told her who my market would be. Incidentally, I sold to Berkley Heat who publishes all three of those ladies and I now share an editor with Shayla.) 

So if your book crosses a few genres or doesn't seem to fit in a specific spot in the bookstore (or is in a genre that has been declared "dead"), then indie might be the better option because you have a lot more leeway. You can be more experimental. I think this is one of the most exciting things about indie publishing. My own genre started in the small digital publishers before it went mainstream. I love the idea of having new genre options to read like romantic horror or m/m romance (which is now becoming mainstream because of experimental digital publishers.) 

5. Flexibility - Do you want to write in one genre or many?

In traditional publishing, at least when you're getting started, it behooves you to stick to one genre. You're trying to build a readership and your publisher wants to do the same. So, they don't want to sign you for a three book deal where one is horror, one a western, and one sci-fi. They want you to do one thing really well. Then, once you build up a fan base, you can get the flexibility to branch out. (Just ask those authors I mentioned above. They all do much more than erotic romance now.)  

But writers often have ideas that genre hop. I know I do. I don't only get erotic romance ideas--I'm not a hussy ALL the time. ;)  But I'm happy putting my energy into this right now because I love my series and want to build momentum. However, if that feels overly restrictive to you--indie affords you options. You can publish what you want. You can see which genres sell best for you.

6. Speed - How prolific are you?

Indie publishing favors the fast writer. The more backlist you have, the better chance you have for making a good living. If you can bust out a quality novella in a month, then the thought of waiting 12-18 months (the normal publishing turnaround time for publication) may seem interminable.  

I am a slow-ish writer--though I'm steadily improving. My deadlines are set up to have me finish a 90-100k book in 4-6 months. And that's a fast schedule because my books are going to be released every six months instead of once a year. If I was indie publishing, I wouldn't be getting anymore than two books out a year anyway, so the traditional publishing schedule doesn't hinder me any.

7. Control - Are you a control freak?

In traditional publishing, you still have a lot of control--at least in my experience. They haven't made me change anything I didn't want to. I had input on the covers before their development and after. (In fact, they scrapped my second book's cover when I pointed out an issue and gave me a completely different one.) I had full permission to rewrite the back cover blurbs. I wrote my tag lines on the front. They didn't like my original title but I'm the one who came up with the new one. However, they didn't HAVE to give me all that control. And I'm sure with some publishers, they're a lot more restrictive. And there are definitely things I have absolutely no say in like pricing, print runs, etc. 

So if you know you will have trouble not being in control of some of those things, indie may be the better route. However, remember with all that control comes LOTS of responsibility. My work on my cover involves sending an idea of what I want and photos of my character inspirations. That's it. Then the professionals take over and I don't see it again until they send it to me for final approval. So I've spent maybe 20 minutes working on my cover. If you indie pub, that is going to be a much more extensive process.

So based on all those things, I chose to pursue traditional publishing. And I'm happy with that decision. But you may come out with a different conclusion when you ask yourself those questions.

Figure out what path suits you best and strive for your dream. Don't criticize anyone else's. And remember that dreams can shift. You may find yourself on the other side of the coin one day. In fact, I think the hybrid author who publishes both traditionally and indie is going to be the one best poised for success. So don't go poo-pooing the other side. You may be one of them one day. ;)

So what do you think? What does your dream look like? Are you as tired as I am of people making this a "taking sides" thing? What made you decide on your own path? Which of the issues above are big sticking points for you?

Roni wrote her first romance novel at age fifteen when she discovered writing about boys was way easier than actually talking to them. Since then, her flirting skills haven’t improved, but she likes to think her storytelling ability has. Her debut erotic romance CRASH INTO YOU will be released January 3, 2012 by Berkley Heat/Penguin. If you want to read more posts like this one or follow her journey to debut authorhood, you can visit her writing blog Fiction Groupie or her author blog. She also tweets way too much for her own good.

For this week's Indie Chicks' story--from Katherine Owen--click here. 


Next week, in preparation for your New Year's resolutions, Ruth Harris will blog about PROCRASTINATION. Yeah. That thing you're going to worry about tomorrow.

When Landing an Agent Lands You Nowhere: Rick Daley’s Story

While I’m immersed in revision hell with two books and hopping around the Interwebz trying to promote two others that just came out—in case anybody wonders, this isn’t something I’d recommend—we’ve got a fascinating guest post.

Meet Rick Daley, the man behind the Public Query Slushpile, and author of the Middle Grade fantasy, THE MAN IN THE CINDER CLOUDS. 

When I heard that Mr. Public Query Slushpile—the man who has helped so many writers to learn to query and land an agent—chose to self-publish, I had to find out more. I knew he had an agent, so what was up?

It turns out Rick had an experience similar to mine: I’ve had four different agents, but none of them could sell my books. Two dropped me after a round of submissions and two left the business.

It’s an emotional rollercoaster that can break your heart. That initial acceptance by an A-list agent is such a high—then there’s the slow slide into disappointment when the editorial rejections come in—then, sometimes, an exhilarating spike when an editor loves it and agrees to take it to a meeting—then another kerplunk when the marketing people nix it. This can go on for a year or more. With me, all the agents dropped me when the first book failed to get a place at a big house.

But Rick’s agent suggested he write another book, hoping she’d have better luck with a two-book offering. In the meantime, unfortunately, she took on way more clients than she could handle (with today’s fast-sinking advances, agents have to sell a lot more books for a lot more clients to make a living.)

So Rick finished the book and waited. And waited. And waited. Nearly a year after he sent the manuscript to her, she still hadn’t even read it. 

He knew he had a fabulous, unique idea that was just right for the Christmas market. But he didn’t want to wait for Christmas 2013, which would be the earliest it could come out, even if the agent loved it and was able to sell it immediately.

So he fired her and went indie.

I think I probably would have done the same. But it must have been tough for him to give up that agent/Big 6 dream to go off to publish on his own.

Here’s his story--(plus some info on what sounds like a perfect gift for any MG-ers on your Christmas list.)

Where is The Man in the Cinder Clouds?

by Rick Daley

ANCIENT BOOK FOUND IN ARCTIC ICE

A team of climatologists stationed in the Artic reported a startling discovery: part of an ancient book found embedded in an ice core. After days of digging, they retrieved the rest of the book from deep within the ice. The book’s age and origin are unknown, but its title and text have been successfully translated, and it’s a story you have to read to believe. THE MAN IN THE CINDER CLOUDS reveals new truths behind one of the world’s most extraordinary legends, and exposes the roots of age-old traditions that are still in practice today.

Back in 2003 I came up with an idea for a story: What if the melting ice caps revealed a book…a very old book that was chock full of ancient secrets. A book that told an intriguing tale about the origins of western culture’s most well-known figures…

I came up with a whole mess of ideas. I clung to them, and jotted them down, pulling them into a semi-cohesive narrative. A mere page and a half, but within in it, the central piece to a tale that would grow to be a story-within-a-story (within a story). I saved it in My Documents and went back to work on my first novel, a paranormal thriller.

Fast forward to spring 2010. The first novel had been completed, but I stalled mid-way through a much-needed re-write.  I had other irons to tend to in my literary fire. I had an agent, and a kids’ chapter book (RUDY TOOT-TOOT) just went out on submission. I needed to decide what to work on next: my re-write, a new kids’ book, or that end of the world satire that is most definitely NOT a kids’ book.

I went with the new kids’ book. It made sense, because I was sure to get some offers for RUDY TOOT-TOOT. My agent had been an editor for 20+ years. She was well-respected and connected, not to mention a published author herself. It had to happen.

I waited confidently.

While I waited, I lost my job. The financial stress was difficult, but fortunately I did have some savings to fall back on. I hammered away at a new manuscript while searching for new job opportunities. This story had been in my head since 2003, and once I started writing it, it just flowed. Then moments of pure inspiration hit (Thanks Muse!) and the story became a special tale about the man in the cinder clouds, and his search for his true family one Christmas long ago.

I read through it and edited it, then emailed the finished manuscript to my agent and five trusted critique partners. I also sent it to my family and friends, including a 5th grade girl who is an avid reader. I read part of it out loud to my son’s third-grade class. All (save my agent, who did not respond) said they liked the concept, and had varying levels of criticism ranging from “This should be published” (opinion of the 5th grader) to being torn apart, shredded, and spat upon (figuratively, of course) by one critique partner.

A month passed. No word from my agent. I emailed her, politely asking about RUDY as well as the new manuscript. Nada.

At least I got a new job. 

I digested all the criticism and went back to the manuscript. I read and revised obsessively. Once a month I reached out to my agent. No response.

After six months I sent my agent an email to let her know I was going to look for a new agent and needed to know which editors had received RUDY TOOT-TOOT so I could let the new agent know the book’s history. After a six-month void in contact with my agent, I finally received an apologetic reply via email and a follow-up phone call. It seemed we might be able to work it out. She hadn’t read the new manuscript because she had been bogged down. She had taken on too many new clients too fast, and had to deal with an illness in the family. She was still fond of my writing, and disappointed RUDY didn’t fetch any offers.

I won’t lie…I didn’t want to go down the query path again and have to find a new agent. The lack of communication was concerning, but she was great to work with when she was engaged. I urged her to read my new manuscript. It was early December…the perfect time to read a bold re-imagining of the origins of Santa. She promised to read it before Christmas and get back to me the first week in January.

She didn’t call or email in the first week of January. I reached back out to her the following week. She acknowledged her tardiness, and asked for one more week. I gave it to her. I understand being busy, especially around the holidays. A week passed and again she hadn’t read anything and asked for more time. Shortly thereafter, we parted ways professionally. She never read a single page.

My new book was good. I knew it. I had to decide: Go the traditional route and try to find a new agent, or self-publish?

The traditional route would take a couple years. First getting an agent, then submitting to a publisher. I would be lucky if my book hit the stores by Christmas 2012. Most likely 2013.

Self-publishing I could have it ready for Christmas in July 2011.

While I contemplated the decision, I read the book again. A tweak here or there. (How can there still be typos after dozens of readings? It boggles the mind.) I read it again and made some more adjustments, adding nuances, grace notes to character revelations. I came to the realization that more changes would make it different, but not necessarily better. A very trusted critique partner agreed with me.

Decision time.

I chose self-publishing. I’m looking at this venture as a start-up company (something I have experience with), and the idea is exciting. I think the timing is right…for me personally, and for The Man in the Cinder Clouds.

So where is The Man in the Cinder Clouds?

He’s waiting for you, dear reader, at Amazon.com and BarnesandNobel.com.The Man in the Cinder Clouds is there to show you what really happened that Christmas long ago…To show you how the legend of Santa began.

About the Author:

Rick Daley has been writing professionally for over 15 years. His experience includes marketing copy for print and web, press releases, business proposals, training and technical manuals, and whitepapers. His essays, ranging from family life during the holidays to his first skydiving experience, have been featured in The Columbus Dispatch. An experienced public speaker with a background in music and theater, Rick has also authored and delivered numerous training seminars and workshops. Rick lives in Lewis Center, Ohio with his wife and two sons (and a neurotic schnauzer).   

You can read more about Rick in a great interview on Susan Kaye Quinn's blog. And do visit Susan’s indie book fair on October 25, which will include my new mystery with MWiDP, THE GATSBY GAME. 

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 What about you, scriveners? Would you have done what Rick did? Have you ever been disappointed by an agent? Have you reached the point when you realize that any more changes to your WIP “would make it different, but not necessarily better”?

Want to win a FREE copy OF my romantic comedy-thriller FOOD OF LOVE? They’ll be giving away three at Chick Lit Central, the Blog from October 17th through October 23rd.

Don’t forget that our November guest will be superstar mystery author, MWA Grand Master and legendary writing guru: Lawrence Block  He’ll be right here on this blog on November 13^th!