• Amy Edelman believes that self-published books deserve more attention from readers and retailers.
• She developed IndieReader.com, a website that curates and sells self-published books. The site is launching a service to distribute these titles to independent bookstores.
By Amy Edelman
Why is it that indie movies like The Hurt Locker and indie bands like The Shins win tons of praise for bucking the “establishment”, doing it on their own and being unique? It is because the movies are great and the musicians are talented? Sure. But then what of the great and talented indie writers? Doesn’t that same formula exist for them? Despite the success of indie books from Tolstoy’s War & Peace to Robert Kiyosaki’s Rich Dad, Poor Dad, the traditional publishing industry would have you think not.
It was that disconnect — that downright idiocy and short-sightedness –- that led me, a year ago this month, to launch IndieReader (www.indiereader.com). It was my belief that it made no sense to brand all self-published books as “crap” just because the “traditional” publishing industry didn’t embrace them. I knew, of course, that many very successful books were initially rejected by traditional publishers — Jonathan Livingston Seagull, Gone With the Wind, Carrie, (an early Stephen King novel) and J.K. Rowling’s Harry Potter. In fact, IndieReader’s first featured author, Lisa Genova, spent a year and a half writing her book Still Alice while trying to find a literary agent, only to be told that there wasn’t “a general audience that would want to read about Alzheimer’s.” In the end, Lisa decided to self-publish, even after an agent counseled her that doing so would “kill” her writing career before it started. Not quite. Still Alice spent over a dozen weeks on The New York Times bestseller list, landing Lisa a deal with major publisher.
I couldn’t believe that there weren’t more great self-published books and authors out there waiting to be discovered. I knew that many good books weren’t embraced by the traditional publishing world because it was believed that they lacked what is commonly referred to as a good enough “platform.” Either that or the subjects of their books didn’t have enough mass appeal. Despite that, there were many self-published books that somehow managed to defy expectation and break through. So, where I asked myself, would I look for the other 750,000+ books (the number of books self-pubbed in 2009, a 181% increase from the year before). That question had me stumped. Because although there are many self-published books that can be found on Amazon and Barnes & Noble, how would you start to look for them? And more importantly, how could you separate the great from the not-so-good?
And that brought me to the problem self-published books have with image. Although I’ve written several books, my day job for over twenty years has been as a publicist. I’ve worked with companies including Ralph Lauren, Tiffany, Hanes, and M&Ms. I understand all about image. I also understand that, in today’s mass-market world, people are naturally drawn to what’s unique and genuine. It was true for indie movies and indie music. So why not indie books?
The truth is, the reading public is more than ready for IndieReader, which is really just a part of a vast sea change in publishing. Self-publishing has become a viable and financially desirable option for many authors, first-time and established alike. And with more and more indie books finding mainstream success (Still Alice, The Shack) and more mainstream authors writing indie books (John Edgar Wideman, Dave Eggars), it is clear that, to quote Dylan, “the times they are a-changin.”
To help aid the process of getting indie books into book-lovers hands, we just launched IndieReader Selects, the first-ever distribution service bringing the best indie titles onto the shelves of the best indie bookstores nationwide. This not only helps indie authors, it also helps indie booksellers by saving them time (they can send indie authors directly to IRS for info on bookstore distribution), makes them money (our co-op program pay booksellers to stock our branded indie books), and sets them apart from the big box stores that do not yet carry indie books.
The submission fee for IndieReader is $149 per title per year (IndieReader Selects is $149 per title for review and inclusion in our database). If your book is not accepted to IR, we will refund all but $25, which is our vetting fee. Exclusivity is not required, but your book will get more visibility on IndieReader. Anyone can offer their books for sale on the giant websites — which makes them a small tree in a very large forest. Unless someone is looking specifically for your book, they are unlikely to find it among the thousands of others. On the contrary, IndieReader has become a destination for high-quality self-published books.
In closing, with over 750,000 books self published last year, it’s just plain dumb to think that they are all bad (and to help them get better, our sister company IndieReader Publishing Services just partnered with WordSmiths, which offers craft-based advice for writers by Iowa Writers’ Workshop Graduates and other professional writers).
There are, in fact, many wonderful writers who — either by choice or by circumstance — end up going indie. The change is that with the advent of IndieReader (and IndieReader Selects), it won’t be so hard to find the good ones.
Amy Holman Edelman has worked in public relations and marketing for longer than she cares to remember. She is the author of three books, one self published and two traditionally published.
DISCUSS: Is Retail Distribution the Missing Link to Improving the Image of Self-published Books?
15 Comments
This is more good news on the side of those wishing to do as we at Sullivan Street Press, Inc. are doing, asking why the traditional publishing paradigm should remain. In truth, it doesn’t need to.
As we now begin our fall road shows and go to the reader directly in her or his community with a full line of books from small presses and self-published authors, we are just being more personal than Indie Reader but we are equally as committed to helping to promote the self-published and the small presses.
Thanks so much for such a spirited discussion of this new trend.
>>>a website that curates
No, she is NOT “curating.” Stop misusing that word.
http://incisive.nu/2010/content-curation-an-epic-poem/
This is music to the indie author’s ears! The traditional publishing world cannot bring new authors to the publishing scene because they cannot afford any element of risk. This means that there is little “new blood” coming to that segment of the publishing world. Without new blood, prospects are not great for any business. Indie film and music is now the norm. It’s where we look for something new and different. It won’t be long for indie publishing to lose it’s stigma. The whole industry will benefit as accomodation is sought and achieved.
@Mike Cane:
CURATE
ORIGIN Middle English : from medieval Latin curatus, from Latin cura ‘care.’
curate |ˈkyoŏˌrāt|
verb [ trans. ] (usu. be curated)
select, organize, and look after the items in (a collection or exhibition) :
Curation is one among many of the things the site does — there is a “staff picks” section along the left hand column of the site. It is, if anything, curation in my estimation.
This is great. Our store only deals with indie authors, and are always looking for new talent.
Bravo. It just takes time for perceptions to change. Services such as yours will help add respectability to independent writers. I think the difference with film is many major stars appear in ‘Indie” films. Plus many get distribution help from the corporate giants. Musicians can go on the road and get fans from playing gigs. It is much more of a social aspect and club.
But I applaud your efforts and do beleive someone needs to help find the quality (and there is a lot of it) writing from the pounds of terrible stuff.
Good luck. A good idea.
Here’s my question: if you’re promoting indie authors and books, and trying to improve the reputation of self-publishing, then why is the example of Lisa Genova a good one to use? Or of any self-published author who gets a contract with a traditional publisher? Doesn’t that undermine your argument?
Your case would be better served with examples of indie authors who, after massive success self-publishing, turn down a traditional deal with a traditional publisher to stay indie.
Good question Michael. But to be fair, I also mention The Shack (an enormously successful book which remains self-pubbed), and John Edgar Wideman, who self-pubbed his last book, Briefs. But the problem remains that many authors still believe that success is spelled with a capital T (for Traditionally published). And who could blame them? Before IndieReader, indie writers certainly had a voice…but they didn’t have a microphone with which to perform. We encourage authors to carefully examine their options, and the site offers resources as well.
Great article. Virginia Woolf had a press of her own: the Hogarth Press. She did a lot of setting of type. Who would have published such visionary novels without that?
Not all self published books are great – but then neither are all published books! This is something I have puzzled about over many years.
Spinifex Press is a writer run publishing house where we publish our own work, and we have more than 200 titles all up – plus around half are available as eBooks.
I agree entirely that there are more routes to market than the traditional one – involving an agent and a mega-publisher – and every day as an (independent) publisher I see fiction and non-fiction that’s been rejected by the big players but is definitely worth publishing. A word of warning, though: even the best author benefits from professional editing (sometimes cosmetic, sometimes structural) and proofreading. Here at Bank House Books we recognise this, and even if authors want to go it alone we can provide valuable editorial services, marketing advice – and, indeed, words of caution if a text isn’t up to it! Good luck to self-publishers everywhere – but don’t forget the value of a good editor.
Your website sounds really interesting. I left my job (graphics editor of the Daily Telegraph, London) to set up my own company, Raven’s Quill Ltd., with its children’s wing, the Shabby Tattler Press. My first title, ‘The Amazing Adventures of Curd the Lion (and us!) in the Land at the Back of Beyond’ has, 22 months later, with no promotional or advertising budget, sold nearly 6,000 copies at £14.99 ($23.5) in hardback,translation rights to South Korea and Israel so far. Made Book and Debut of Year by Lovereading4kids website in UK (www.lovereading4kids.co.uk/book/3991). It is a children’s nonsense quest story for 8-13 (and quite a few adults) with 80 pencil illustrations (author and illustrator) in 160 page story.
Second book ‘The Flight of Birds’ (adult) coming out and end of October. This is a ghost story, a tale of revenge, set between Elizabethan England and today. Currently talking to Bookmasters about US distribution of e-book and physical. Would that conflict if I were to approach you? I don’t suppose you are going to the Frankfurt Book Fair? If so, I am in Hall 8. Stand 934 (IPG shared) and welcome a visit.
I agree wholeheartedly with Simon. As a bookseller in a small independent bookshop, I am frequently approached to sell self-published books. The authors are always surprised when I say I’d prefer to read what they have written before committing myself as if the very fact they have written it should be enough. I don’t have the space or the money to take things I am not confident will sell. Independence is not enough:it must be combined with good writing skills. I think an editor is essential.
Morag
Money flows TO the writer.
Just your Mom wishing you and your incredible service to those who self publishing a Happy (and most successful) 1st Anniversary!! Looking forward to the day when I can put my selections onto my Kindle…..
Looks like a nice Jewish woman! You should put more pictures of yourself up around your site….