Category Archives: self-publishing


Lessons from the romance industry

A few weeks ago, the wonderful people at Long Island Romance Writers asked me to speak at their annual luncheon. What follows is the speech I gave at that event:

In the summer of 1999, I had completed my freshman year of college and realized that the money I had saved up throughout high school to spend in college was all gone. I knew that what I made working at the mall Record Town for three months wasn’t going to keep me going through another year, so I made the obvious choice: I sat down in front of my school’s career database and applied for 40 part-time jobs. I was not careful about my choices. I had two criteria: they paid at least minimum wage and they were at least relatively easy to get to from my dorm.

The next day, I received a message that I had missed a call from Stacey Glick at what was then Jane Dystel Literary Management. At this time in my life, I was so scared of speaking to strangers that I would write down scripts of possible sentences I could use on the phone. “Hello, this is Jim McCarthy,” I wrote down. In case I forgot?

Within 24 hours, I had been interviewed, offered the job, and accepted. Knowing how awkward I was at the time, I can only think that there was a dearth of viable candidates. Here’s what I knew on my first day at a literary agency: Nothing. I knew nothing. I didn’t know what an agent was or what they did. I DID know that Judge Judy was on the client list. This was enough for me to feel preeeeeeetty fancy.

I interned off and on for a few years. I quit three times because I thought I needed to go get internships that would help me in my future career. Considering I majored in Architectural History and minored in Dramatic Literature and Women’s Studies, I welcome you all to imagine what that alternate career might have been.

The day I graduated from college, someone quit the agency. Miriam Goderich sat me down and said, “Listen, we’ll give you a job, but if you quit one more time, you can never come back.”

When I started to sign on my own clients in 2003, I didn’t really know what I would be looking for. I always heard how hard fiction was to sell, but I also knew that it was what I loved to read. My favorite authors through high school had been Stephen King and Jackie Collins. I wanted to read about what would happen if Lucky Santangelo had to visit Salem’s Lot. Conveniently for me, paranormal romance was beginning to break out. I hitched my wagon to that train and was off and running.

In the 12 years since I signed my first client, a lot of things have changed, and a lot of trends have come and gone. I represented chick lit until its ignoble death. I was selling vampire novels when they were the only things people wanted. I was selling vampire novels when they were the only thing NO ONE wanted. (On a side note, I asked Miriam Goderich to edit this speech for me, and she included this comment here: “This is the place to mention my philosophy that vampires and Elvis will always sell.”)

I’ve been told that the market for contemporary romance is dead. I’ve been told that the market for contemporary romance is super vibrant and then watched it become all that anyone seemed to buy for six months until lists were declared over-saturated with…contemporary romance.

I’ve witnessed the rise and fall and rise of self-publishing. I saw authors who struggled for years become millionaires. I saw bestselling authors whose sales slowed to a trickle.

I’ve had phone calls where I was told that novels with black protagonists are too hard to sell into the market. I’ve seen the WeNeedDiverseBooks campaign start to make a wonderful difference.

I’ve heard the romance industry derided for being the silly, frilly, fluffy stepsister of publishing. I’ve…okay, actually that still happens, and you know what? Screw ‘em. Romance is a $1.4 BILLION dollar a year industry that makes up a larger market share than any other genre by a large margin.

The romance market has the savviest readers and the most well-connected author community. All of the greatest innovations in the ebook market began with romance authors and readers. And in no other category have I seen authors band together to demand improvements in contracts, control over their careers, or more transparency throughout the industry. And in no other section of the publishing arena have I found writers more willing to support their colleagues’ efforts. I’ve seen friendships build out of initial meetings at RT or RWA that have lasted for years, brought about collaboration, and led to mutual marketing assistance or sometimes just to lending a supportive ear when the business gets tough.

Because this business does get TOUGH. As much as things have changed in my decade and a half in publishing, that has been consistent. I recently saw a well-published author compare writing to trying to build a castle on quicksand. And I understood where she was coming from—there are so many unknowables out there, and one of the most defining characteristics I’ve seen in authors over the past 15 years is that no one ever feels secure. Bestsellers worry that their next book will be the one to tank. Midlist authors convince themselves that if they haven’t broken out yet, their time will never come. And debut authors worry that they will never be good enough to have people want to spend money to read their books.

I’m sure there are SOME authors who feel secure, but I mean…even J.K. Rowling published under a pseudonym so that she didn’t have to deal with the weight of expectations that would be placed on her next book.

That may all sound very negative. But here’s the thing about the author who tweeted about the quicksand: she’s still writing. Passionately. She hasn’t given up. And while I haven’t spoken to her about this particular issue, I’ve heard from a lot of people in similar situations that there’s one reason they never stop: they can’t. Tough as this business gets, the rewards are simply too sweet.

Whether you have to wake up at four in the morning to find some alone time to work on your writing or the responses to a submission make you feel like pounding your head against a wall, there comes a moment—when you get your first deal or receive your first fan letter, when your printed book arrives in the mail or you get that first check for earnings—there comes a time when you know that the words you passionately committed to paper are being read by strangers out there in the wild. There is someone out there who has read your work and been moved or excited, entertained or titillated. Someone out there had a unique experience because of something you alone have done.

I don’t write. I’ve never thought for a second that I have the talent or the discipline to do so. Hell, I joked about how I would stretch this speech out with sections of interpretive dance if I couldn’t come up with enough words to fill the time. (You all better hope I can fill the time because I cannot dance). But when I watch these moments of joy and of discovery, I do get jealous of my clients. I’m thrilled for my own small part of the process, but knowing that feeling of someone else lighting up over your written creation? There’s something magical there.

No one has ever taken up writing because it is easy. No one sits down at their computer and thinks, “I need some cash. Why don’t I just write a novel?” Or if they do, they are crazy people. No. I would venture to guess that all of you started writing because of a need. A need to express yourself. A need to get the stories in your head onto paper. A need to share some piece of your inner world with other people.

So whenever the business becomes tough, as we have determined that it will? Remember that. Remember you have already done something extraordinary and that whatever bad thing is happening at the moment (rejection, disappointing sales, rights reverting, rights not reverting)…it is a road block. It is one of the inevitable frustrations that comes from being brave and bold enough to be chasing your dreams.

The past few years have seen a lot of turmoil throughout the publishing industry. Two of the biggest publishers in the world merged. The percentage of books acquired electronically sky-rocketed. The number of authors finding a way to succeed outside of the traditional path went from zero to…like…a lot. (I don’t have exact figures. But seriously, it’s a lot). So when I’m asked a question like, “What has changed since you became an agent?” my answer is a forceful waffling. Everything has changed. Nothing has changed.

In the Nothing Has Changed column, you can argue that just as many people as ever are writing, there haven’t been enormous gains in the numbers of readers, so one basic tenet of the entire industry has stayed exactly the same. We (the royal we: authors, agents, editors, booksellers, the corporate drones at Amazon) are all trying to figure out how to get the most product by writers into the hands of the most readers. Author writes. Someone sells. People read. Who the someone selling is has more variations now, but it’s still a pretty straight line.

In the Everything Has Changed column, you can dump every piece of technology that has come up in the years since I started: iPads, Kindles, nooks… You can dump in various tech initiatives: Oyster, Kindle Worlds, Smashwords… You can pick trends that have taken the industry by storm whether they are super fun and encourage creativity like fan fiction or they were desperate attempts people glommed onto to seem relevant in a new technological age (…).

So when I try to balance these columns and decide whether much has actually changed in a real way, I arrive at this: for all intents and purposes, the system is very much the same with one crucial difference: authors are more empowered than they ever have been before.

THAT is the gift of the self-publishing boom. Over the past few years, romance authors have led the way in taking a degree of control over their careers that many others would never have even imagined. Authors who had robust backlists and were sick of being told that no one wants a reprint? They made their books accessible and sold tens of thousands of copies. Others who were told they had product that simply wasn’t marketable to any real audience? They tossed off rejection and went on to sell hundreds of thousands of books on their own.

And so publishing divided into maybe three camps: those who believed self-publishing was a threat to the status quo and would destroy the business, those who believed self-published books were trash and not worth their time since all of those authors would burn out quickly, and those that believed that all innovation was good for not only publishing as an industry, but for the future of the written word. Obviously, I am Team Trash: self-published authors will all burn out and things will go back to the better ways of before.

I kid! I once did a panel with an unnamed agent who WAS in that category. We stood in front of a room of 40-50 published authors, some of whom had moved parts of their lists to self-publishing. To them, this agent said something like, “I represent superstars. I don’t need you. There is better to be had.” Now, I am a generally a very relaxed person. But suffice it to say, things went…somewhat poorly. And while the red hot rage I was feeling blurred a lot of my memories of what happened, I do know for sure that at the end of the panel, I was holding all four microphones that had been on stage in the hopes that no one else would speak. I think I only succeeded in making people shout to be heard. It was…delightful.

Sorry for that tangent! Meanwhile, as you might expect, I am actually very much a believer that all innovation is for the better, and the fact that authors have become able to take more control over their careers is a wonderful thing. I do believe in the future of traditional publishing. I think there will always be authors who are best supported by having an agent, an editor, a publisher, and so on. There are enough potentially wonderful things built into the system that at its best, it is irreplaceable.

I also don’t believe that independent publishing will go anywhere. There will always be authors whose work is either misunderstood or belongs in a market that publishers don’t know how to reach. It is invaluable to be able to reach audiences without having to go through the admittedly cloistered publishing community.

I’ve felt the changes most when I’ve been at writers’ conferences. Five year ago, if I was at a conference, you could feel an odd sort of deference to agents and editors. There was that sense of, “Oh my God, there are so few of them, and they determine whether I have a future at this thing that I love.” I’d get the question, “Do I really need a literary agent?” and my answer was always yes. Now I walk into conferences, and I’m not scared to wear my Agent name badge. People still want to talk to me, but I don’t get pitched at urinals. No one breaks into agents’ hotel rooms to leave manuscripts on their pillows anymore (yes, those things really happened). It’s because there is an alternative, and that is such a good thing.

Do I believe that agents are incredibly helpful to authors? Of course I do. I don’t know if I could handle going to work every day if I didn’t believe that. But there is something both challenging and delightful about knowing that whereas clients may formerly have felt like they needed to clutch on for dear life, we all are that much more aware now that we have to be great at our jobs or else people will leave us. I don’t know if it’s masochism or misplaced enthusiasm, but I find that incredibly exhilarating.

As someone whose job description is Author’s Advocate, I have to be happy that those authors are becoming more empowered, increasingly pro-active, and better informed by the day. That happens right here in rooms like this and with authors like you, and I thank the romance community for supporting each other, for keeping us honest, and for keeping us on our toes. We are all the better for it.

I want to tell two quick stories of authors I represent who to me stand out for their incredible strength.

Victoria Laurie was the second or third client I ever signed on. We’ve done more than 30 books together across multiple series—adult, YA, and middle grade. She first queried with the book ABBY COOPER, PSYCHIC EYE, a novel about a psychic intuitive who accidentally gets involved in a murder investigation. I rejected that book. I sent Victoria a letter saying that I loved the main character and thought her voice was incredible. The book, though, didn’t know whether it was a mystery or a romance, so the pacing was wonky, and it didn’t hold together. I said I’d be open to considering future work. Victoria wrote back the next day and told me that it was the nicest letter she had ever received. I momentarily panicked and thought she somehow missed the part where I rejected her. But she hadn’t. Six days later, she sent me a revised novel. I rolled my eyes because I thought there was no way she could have done the necessary work in six days. Long story short? I sold the book about a month after that, and it became the first in a series that continues to this day. What I discovered after we agreed to work together? I was the 114th agent that Victoria had queried. One hundred and fourteen. I don’t think I’m strong enough to be rejected 112 times and keep going. But I’m so glad that Victoria did. I adore her. I adore her books. And she even modeled a character in one of her series after me. I’ll never tell which one.

And then there’s Michelle Rowen. I sold Michelle’s first novel BITTEN & SMITTEN very easily. It went on to very solid sales and the publisher bought more and more books by her. Then her editor left. Sales stopped being what they once were. And we had to move publishers with her. Again and again. And again. It was a tough road. I remember sitting with Michelle at a Romantic Times convention several years ago, as she said that there were times she wanted to give up because it was hard and it was frustrating, and sometimes she didn’t know if she had the strength to keep going. And I remember telling her that it would kill me if she stopped because she was too talented to give up. She kept going. Not because I asked her to, but because she was always strong enough to keep going, even if she had doubts. Michelle wrote the novel FALLING KINGDOMS under the name Morgan Rhodes. It was her 25th book. It was her first New York Times bestseller. I’ve had other bestsellers. This is the only one that I cried over. Because the road was so long and so hard, Michelle’s persistence was all the more inspiring, and her success was all the sweeter.

I share those stories because to me, they’re the best to hear at the beginning of a career. Publishing can seem so impenetrable and impossible. And it can, truly, be incredibly difficult. Everyone needs to know that. But everyone should also know that even when it isn’t working out, it still can. Your greatest asset is your writing. But almost equal to that? Your endurance, your fortitude, your belief in yourself. Ignore the overnight successes. You only hear so much about them because they’re so rare. Go into publishing with your game face on—prepared to fight for your shot and open to enjoying the good news along the way, even when the road is bumpy.

On June 10th, it will have been 13 years since I went full time at Dystel & Goderich. Since then I’ve sold over 300 books by more than 45 authors. It has been an incredible experience. Or a series of incredible experiences, depending on how you look at it. I’ve watched publishing change from the inside for long time, but this remains the same: Being an author is one of the world’s hardest dream careers. But when it works out (and it very often does), nothing could be sweeter.


Pulling an Oprah

As agents, our number-one job is to look out for the best interest of our clients, from the scope of their writing careers to each individual project. Just as we’ve signed up a number of successful self-published authors and helped them achieve traditional publishing contracts, we also suggest digital self-publishing to our traditionally published clients when that seems to be the best option for them.

But not every author has the time, interest, or know-how to self-publish an e-book. DGLM to the rescue again! Our digital publishing program, run by yours truly, exists to assist them with the details, from lining up freelance editors and cover designers, to building e-book files, to strategizing marketing initiatives. Authors who have taken advantage of this service include those with a sizable backlist, like David Morrell, as well as talented debut writers with projects that just haven’t found a home.

Why am I talking about this today? Because we have a free gift for you! And you! And you!

We’ve put together an e-book sampler that includes excerpts from eight thriller titles self-published by our clients.

Help yourself to our Thriller Almanac!

ALMANAC FINALKindle     Kobo     Google Play      iBooks

We’re curious to see how giving away a free sample could boost sales in this genre, and we’ve asked each of the participating authors to spread the word in their social media circles.

And now we want your input! If you’re an avid e-book reader, please let us know what you think of this sampler.

Are the end points for each excerpt exciting enough to make you want to buy the whole book? How do you discover new e-book authors? What’s the perfect price point to tempt you to take a chance on a series you’ve never heard of?

The best of all possible worlds

Last night I walked a couple of blocks down Fifth Avenue to the brownstone home of the Salmagundi Art Club for a panel discussion of “Publishing in the Digital Age” hosted by the Deadline Club.  It was a miserable evening, weather-wise (as soon as I walked out the door of 1 Union Square West, the heavens opened, cabs splashed water as I waited for the lights to change, and my hair took on the proportions of Diana Ross’ favorite wig), but the panel discussion was lively and informative.

The question on everyone’s mind seemed to be “Should we panic about the state of the book business in the wake of the digital revolution or do we dare be optimistic.”  Our job on the panel was to illuminate the big issues preoccupying publishers and authors while attempting not to freak anyone out.  Overall, my fellow panelists and I were quite optimistic about the opportunities digital publishing affords while still admitting to twinges of regret over the passing of the traditional, wood paneled, musty smelling industry we all came of age in.

The optimism on our end came down to “choice.”  Authors have more choices now than they ever did.  They can self-publish easily and relatively economically if they choose or they can go through the traditional channels and, if that doesn’t pan out, go back to the idea of self-publishing.  Before e-books, if an author was rejected by enough agents and publishers, the idea of printing and distributing his or her own work was a daunting one.  Now, it’s a relatively painless process.

So, how is this good news to us inside the industry?  Well, what empowers authors usually empowers agents and, perhaps to a lesser degree, publishers.  Publishers and agents still provide an invaluable service in terms of curating literary material.  We still bring experience, love of craft, and critical acumen to bear on the process of book making and we’re pretty good at it.  And, authors and readers know this.  While self-publishing is now a thriving business, traditional publishing continues to publish more (digital and print) books every year.   And readers continue to buy these curated products.   Despite the perception of the business as the Titanic wildly trying to skirt the iceberg, publishers are making real efforts to keep up with the changing times so that they can bring their traditional talents to bear on the work authors are producing today.

Not to get all Panglossian about it, but isn’t this the best of all possible worlds?


The self-published author—what does an agent look for?

Last week, Laura Howard, an Indie author, asked whether I would write about what an agent looks for when offering representation to someone who is in the self-published community.  Since we represent a significant number of authors who originally were/are self-published, I was delighted to accept her request.

The first thing I look for in any author, self-published or not, is the quality of the writing.  If the work is poorly written, then we cannot represent it no matter how strong the sales are initially (substandard writing will not sustain high sales in my opinion).

An author’s sales numbers and how they build over time are also very important.  Unit sales are critical but so is the author’s position on the lists of the various e-tailers—;, etc.  A prolific author will often see each subsequent book in a series build up the sales of the previous books.

The author must be very active on social media—having an effective, accessible website and/or blog is important, as is a solid presence on Facebook, Twitter, Goodreads, and other networking sites.  Positive reviews of the author’s self-published books by the target readership are critical as is a willingness to interact with and be supportive of other writers in his/her category.

Finally, I always like to talk with prospective self-published clients to make sure that what we think we can offer them matches their expectations; we try never to over-promise although we do assure all of our clients that we will do our very best to help them build their careers and have a positive experience doing so.

The goal is to sign up writers who have a solid future in Indie and traditional publishing, or a mixture of both.  So far, it’s working out very well for us and we’ve learned a tremendous amount.  I am happy to answer any questions regarding this subject which is becoming an important one in our business.  Let me hear from you.

Book Discovery

When I’m talking about eBooks with authors, something that always comes up is the idea of discoverability– how to get readers to actually find and purchase one of your titles. With so many titles out there, which is especially true on sites like Amazon, how do you get a reader to find your book?

So I was particularly interested in this survey posted by Digital Book World earlier in the week. What is fascinating about the findings is that people are using more and more ways to discover new works. According to Kelly Gallagher, who presented the results, readers use 44 different techniques to discover new titles. That’s a lot of ground to cover for an author.

The author of the DBW article puts it best when he says, “Imagine the complexity: a 27-year-old female romance reader from suburban Indianapolis who reads on a tablet computer but spends most of her time browsing the Web on her laptop versus a 43-year-old female romance reader living in Los Angeles who reads and buys exclusively on her e-reader. They’re both romance readers and female, but couldn’t be more different otherwise when it comes to how they discover and read books — and reaching them takes different marketing tactics.”

Something that also caught my eye: the #1 way people discover books, no matter what kind of reader they are? Either in person or through personal recommendations.

So where does an author begin? And do you find yourself discovering books in new ways?


Support systems

We’ve lately had the good fortune to represent some lovely women, like Tracey Garvis Graves and Colleen Hoover, who started out self-publishing their fiction and for whom we’ve now been able to make some significant deals with “legacy” publishers (have I mentioned that I really dislike that term?).  These women are very smart and committed about their work, but they are also incredibly generous in their support of other writers who are embarking on the same kind of venture.  They belong to online support groups where they critique each other’s works, give each other tips on how to market their books, and serve as cheerleaders to each other on their public platforms.  As Jane mentioned in her blog post last week, authors mentoring and supporting other authors should not be a surprising phenomenon, but, in fact, it often is.  It’s also wonderful and important and we hope that other authors are taking note and emulating this kind of esprit de corps.

But, as I mull over this interesting development, it occurred to me that I don’t see this kind of “community” among male writers.  Sure, people like our own David Morrell are tireless in speaking at conferences, sharing  insights with up and coming writers, and offering priceless advice (in David’s case like the professor he once was).  And I know that  Joe Konrath, whom we’ve represented for many years, has a huge online following for his often controversial but always provocative views about the publishing process.  But, I have not seen the kind of small  influential online writing groups among male writers that seem to be flowering in the women’s fiction world.

Why is this, do you suppose?  Is it a XX/XY thing?  Is it because of category?  Is it because men are more naturally competitive and women more nurturing (to apply the most pervasive stereotypes)?  Or do these groups exist and thrive and I’m just not hip to them?

Penguin’s Big Buy

You may have heard the news that Penguin Group has bought Author Solutions—one of the larger self-publishing platforms—for $116m. Not only is that a lot of money to invest in a company, it also speaks quite a bit about how traditional publishers have started to view self-publishing.


There’s no doubt that the current eBook market has seen a number of self-publishers find a great deal of success and notoriety. With this investment, it looks like Penguin is betting that self-published authors are a big part of publishing’s future. It is also a step in lending credibility to the self-publishing marketplace and its authors, who were once viewed as writers as who just couldn’t hack it as professional authors. Now, with the potential backing of a Big 6 publisher, that stigma may disappear.


It is still unclear how Author Solutions will be integrated into Penguin, though. Will Author Solutions replace Penguin’s Book Country platform? Or, more interestingly, will Penguin open up its own self-publishng arm (like Amazon’s KDP or Barnes and Nobles PubIt!)?


What do you think of Penguin’s big buy? Do you think we’re likely to see similar purchases in the future?



One of the things I like about e-books is the fact that they have longer “shelf” lives than print books.  I like that I can think of an obscure title that I read and loved back in the Dark Ages—when Reagan was president and I still thought a flat iron was a good idea on my hair—and have it in my e-reader within seconds.  As much as I love physical books, I relish the convenience of accessing information or pleasure reading without waiting for half an hour while a surly bookstore clerk goes digging in his computer to see on what shelf there might or might not be a copy to be found.

Personally, if I love an e-book, I’ll more than likely find a way to buy a physical copy.  But, what my own e-buying trends (and those of my friends and colleagues) tell me is that digital books can sell more and longer than print copies that have to fight for shelf space, if marketed correctly, and can tap into ever-renewing markets with ease.

This Galleycat piece about how to re-energize sales of old titles is worth checking out by authors thinking of self-publishing, or digitizing their backlist, or helping their publishers promote their titles.

Case in point: Through DGLM’s e-book program (which we’ve blogged about here) we recently put up the late John Comer’s Combat Crew, a gripping memoir of the 25 combat missions Comer flew over Europe during WWII.  The book had been out of print for some time and Jim Comer, John’s son wanted to get it back out there for a new generation of readers and for the veterans and military personnel who would doubtlessly be fascinated by his father’s stories.  Reaching these specific markets and having hit the pricing sweet spot, the e-book has been an unqualified success.  And, indeed, a new generation of readers is discovering this classic narrative.

So, before you e-publish think about what markets you want to reach and how, think about pricing and don’t over- or under-price, and read as much as you can about internet marketing.  It will pay dividends and give your work an extra-long life.


Necessary losses

Most of us who work in publishing are passionate about books.  Duh.

We are also passionate about the written word in its myriad forms and about the primacy of the creative process.  Even when working with prima donna “authors,” celebrities who are barely literate, and writers of all stripes whose work should probably be hurled across the room in homage to the great Dorothy Parker, many of us are easily star struck.  All it takes is a brilliant turn of phrase, a well crafted, ambitious novel, a surprising and daring narrative gambit and we’re in love.

But, most of us in the business know with utter certainty that there are books that should be shelved, put in a drawer, sent through the shredder or, in the case of the truly great writers, consigned to footnotes in fawning biographies.  In this era of e-books and the voracious need for content, whatever its worth, it’s hard to defend the position that some books just should not be published.  And yet, some books should not be published.

Reading this short piece in the HuffPost about “lost” early efforts by renowned authors, later found and brought out under the guise of offering additional glimpses into those authors’ psyches, reinforces my opinion that not everything deserves to be in print.  My contention that someone should have told Shakespeare to put aside Titus Andronicus and turn his talents to somewhat less bloody family dramas has gotten me in trouble in literature classes as well as cocktail parties but really, would that have been such a loss?

I think all of us need to recognize, especially now when it’s so easy to self-publish, when something is not ready for public consumption and be able to move on to the next project with an eye to applying the lessons learned and producing something stronger, better…publishable.  What do you think?  As writers, can you make the call on your own work?  Can you make the call on other peoples’?  Should everything be published, the good, the bad, and the badly written?



The Unsold

Apropos of Stacey’s post about knowing when to say when, I’m squaring off with the unwelcome possibility that a book I love is on the verge of not selling. I can tell you that we came quite close at several houses, that there were editors who loved it, that all parties agreed that the author was prodigiously talented, that revisions were made and made again. And yet.  We’re now discussing the possibility of e-publishing, this author and I, and so it seemed thematically appropriate that Edan Lepucki should publish her follow up post to Do it Yourself: Self-Published Authors Take Matters Into Their Own Hands in The Millions.

My client is still mulling it over, but Lepucki has decided not to self publish for the reasons she lays out here. I’m with her on most of these: I too read books released by major houses; I’m part of the publishing establishment (and hence about as far from a “hater” as one can be); I work with literary fiction and I am a thorough-going champion of the small press.  But unlike Lepucki, I am perhaps less concerned with the validation that a contract confers. True, I am not an author, so my stake in this is different. I am certainly ambitious for the people and projects I represent, but I don’t set much store by what a client calls “the fantasy” in which book deal, stellar reviews and robust sales are the inevitable outcome of hard work, attention to craft, and talent.  Indeed, it is because I am not an author that I can attest that the system by which books are acquired and sold is an imperfect one, and there are good books, very good books, that go wanting. Like this one.

So, whether or not my client will decide to e-publish is still up in the air, but in the meantime, he is administering himself a crash course in the uses of social media, which will help him whatever transpires. I’ll keep you posted. Meanwhile, I am curious to hear what you think of Lepucki’s decision.