Lies, d*mn lies and publishing

This is not the tsunami you're looking for.

This is not the tsunami you’re looking for. 

It never fails. (Sarah here.)  I find myself on some forum with traditionally, indie and hybrid authors, and someone brings out two old canards:

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1-      You’ll never get there by your wits alone.  I.e. indie is all very well, if you want to sell a 100 copies of your precious little effort, but to make the big bucks you need traditional publishing.

2-      Indie publishing is submerged in the proverbial tsunami of cr*p.

Do I need to tell you that not only neither of these are true, but that they’re almost the opposite.

Yes, you can do very well financially from indie.  And I’m not talking the big name cases like Amanda Hocking, or Hugh Howey.   No, everyday people who have been publishing indie for five years or so and do well enough to make six figures and are considering quitting their job.  This might seem like nothing to you, if you think that every traditionally published author plays poker with Stephen King and has his own swimming pool filled with gold coins, like Uncle Scrooge, but “making a living from writing” has been impossible for most writers for the last forty or fifty years.  Ten years ago the average income from writing of the members of Science Fiction and Fantasy Writers of America was five thousand dollars a year.  And most people in the professional organization made less than that.  (And it’s probably worse now.)

What about the tsunami of cr*p, then?

This rings true, especially to many writers, because, well… we’ve most of us had to read for contests, or even have downloaded ebooks that are appalling.

But is there a tsunami?

I can tell you that whatever it was, tsunami or gentle rain storm, it was much worse back when ebooks started.  Either I’ve got better at picking books, or the really seriously bad ones have given up and gone home. And I think a lot of them have.  The people putting up a book in hopes of being millionaires tomorrow get disappointed and stop writing.

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There is another factor too.  Almost every hopeless “die trying” case of wanting to write I’ve ever met doesn’t want to go indie.  They want validation and “books on the shelves” and to do the morning talk shows and…  In fact in the indie versus traditional battles they’re the loudest pro-traditional voices.  Hope springs eternal, I guess, and it prevents their ever coming to grips with their shortcomings.

Mind you, there are plenty of awful books out there.  I just returned one to Amazon, something I don’t remember doing with a free book, ever.

First, the main character had gender dysfunction issues he didn’t seem aware of. As in, I was in the head of a six foot something male and he was reacting/thinking/viewing people as though he were a small female. This is something that can/does happen when women write first person (or third person close in) males. Yes, it’s worse than men writing females, because then she just comes across “Strong” and “independent” because she’s not afraid to be out at night. But a tall, strong man doesn’t go all feely over “there’s a knot of people ahead. Oh, my, are they aggressive?” unless he’s wounded or otherwise incapacitated.

Second – I thought “maybe the character is a very swishy gay male. Whatever.” BUT it kept pulling me out. I kept seeing a petite female and then being told this was a male.

Third- the knot of people turned out to be a “disturbance”. There’s a man screaming at someone else in a square in Regency England. A guardsman shoots him, and then says “He was just a peasant” and there’s no consequences. France, before the revolution? Sure. England in the Regency? No. Yeah, it could happen in a riot, but if the guard weren’t lynched, he’d be tried. I thought “Oh, boy, someone read too much Marxist theory and knows no real history” but kept reading.

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Fourth-The man goes in and has a pointless discussion with the alleged villain in which they explain all the social rules of Regency England and half of them are WRONG or at least the writer has no clue what she’s trying to explain having got the smell but not the taste of the thing.

Fifth- Our hero goes home. There’s a woman (ravishing, natch) waiting in his rooms and she makes sweet sweet love to him. Look, it’s not even the “why would she” it’s the SHE made love to him. I.e. he was utterly passive in a way I’d find hard to believe for most women, and I don’t think the most passive of men can be. The book got deleted.

Yes, yes, it was an indie book.

Now the kicker and the chaser. THE KICKER: it was an indie book republished by the author AFTER rights reverted from…. drumroll … Berkley Prime Crime. THE CHASER: It’s third for historical mystery and VERY high for historical romance.

This brings me to my final point: Look, we’re in unknown territory here.  For longer than any of us has been alive, the publishing houses have been publishing not what sold (if they even knew what that was, through their arcane accounting system) but two things: the correct politics and something to impress their colleagues.  So we got leftist litrachure.

We also got a whole bunch of things that editors decided was “good” and lost a lot of things they decided was “bad.”  When indie started, despite the fact that most golden age sf/f was first-person, the publishers were well on their way to banning first person.  Other things have been banned that were part of the story teller’s art forever: omniscient viewpoint, male action heroes, things that have nothing to do with quality but with the echo chamber of NYC publishing.

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And what we’re finding with indie is that those often sell.  Because we’ve been trained in a certain type of market/storytelling, they often strike us as bad, but the public likes them.

So, if you’re a writer, indie or not?  Try things.  Your first book probably won’t sell a lot, but keep writing.  In indie, there’s a virtue in volume.  I hear there’s a huge increase in all numbers after your fourth indie novel.  Just get it out there. Write the best you can, and put it up.  If this is what you want to do, strive to improve and don’t lose faith.

Go indie, young man, go indie.


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A novella-length duology set in the world of Chosen of Azara.

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