Navigating the New Publishing (Mark Teppo, Raven Oak, Shannon Page, Marc Gascoigne [Angry Robot])
I didn’t take notes, so all this is what I remember from the panel.
- Publishing, as we all know, is moving really fast as an industry. There are many options beside the traditional Big Publishing Houses. Small publishing houses like Tor and Angry Robot; micro presses that are even smaller, and often the work of a few individuals, maybe even one person; and, of course, self-publishing
- The big publishers have the best reach – they can get books into stores, they can get books reviewed in prestigious venues, they can promote your book in a big way. The question for most authors is, will they? The big publishers are notorious for concentrating their resources on the books they think will sell in millions of copies, and not doing very much for others. If your book is one of the left-behind ones, it may get hardly any promotion.
- The small publishers do better for new authors. They still have reach and a name in the market that provides an advantage. And with fewer authors, and especially, fewer big-name authors, they pay more attention to newcomers and new books.
- The micro-presses take it a step further in terms of personal attention and support for the author. They don’t have big budgets, but they are in your corner. You have a committed supporter who can take over many of the tasks writers don’t enjoy – the technical and business side of publishing and promotion. They can seldom afford to give advances.
- Self-publishing can work really well if you’re willing to make the effort and do the work. You start at a disadvantage without the reach, but the flip side is that you keep a much larger percentage of the sales, and you have complete creative control. You don’t have to hassle with trying to find a publisher willing to take your book. Some self-published authors have been very successful.
- Should you get an agent? It depends. The panel had mixed views on agents as sellers of your book. If the agent has a really good list of contacts, it may be worth it. But it’s usually a lot of work to find an agent, and many writers discover that after all that trouble, it doesn’t work out. (I personally know several people who’ve parted company with their agents.) If you’re willing to look at contracts really carefully and do your own negotiating, you make not need one. Shannon said she’d had an agent but they parted ways amicably. Mark said he has an agent whom he pays 15% for agented sales and 10% for sales that Mark negotiates, not so much for sales as for being there if something went wrong and needed fixing. Raven doesn’t have an agent, but has a lawyer who looks at the contracts. Tom, speaking for Angry Robot books, says that they don’t accept unagented submissions except for personal invitations (and he invited everyone in the room to send him manuscripts); it’s basically to keep the worst of the slush out.
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