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 |  This is a continuation of my blogging here at WdC |
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This will be a blog for my writing, maybe with (too much) personal thrown in. I am hoping it will be a little more interactive, with me answering questions, helping out and whatnot. If it falls this year (2024), then I may stop the whole blogging thing, but that's all a "wait and see" scenario. An index of topics can be found here: "Writing Blog No.2 Index"  Feel free to comment and interact. |
| Self-Publishing Addenda Quick one. Some things came up from people regarding my recent post about self-publishing ("20240821 Self-Publishing" ). I did go back and link my entry on hybrid/vanity publishing, which I should have done, but some other points were brought up.First, some commented that I mentioned people who wanted to control their own narrative, but then did not mention them in my list of people for whom self-publishing is maybe the only option. This is because the people I mentioned, and the types of works I mentioned, are when self-publishing is the only viable option in most cases. People who choose to have that control, it is a complete choice. They could well go the traditional publishing route, but choose not to. Having control desires is not a reason why you have to do something. I wanted to look at those for whom it is very probably their only option, which is why I used the word “vital”. Second, some mentioned that I was too hard on self-publishing. I am pretty sure I said I was going to be harsh on it because, for the general writer, I do not see the point. I will say it again: if it is not good enough for a publisher, it is not good enough for the public. Third, it was brought up that publishing screenplays and plays before performance is not done. This is something I was not aware of in the USA, so I need to apologise. In Australia, even for some community theatre groups, the expectation is that the play has been published in book form; I made the assumption this was the case everywhere. I also equated screenplays with stage plays, and that was probably an error as well. I mean, I have sold screenplays to students without it being in book form. Having said that, of a writer wants these works to just be out there for many to read, self-publishing is still the way to go. Fourth, I neglected another form of writing that often needs the self-publishing model to get out into the public – Graphic Novels. While this is a growing market, it is also an area where more and more are throwing their hat into the ring, and so self-publishing, like poetry, is often the only way to get these works into the public sphere. Fifth, another form of book that virtually requires self-publishing: collections of art-work and/or photographs. There is one publisher in Australia who does this, and is not aligned with a university. One! The issue is – and this does affect the self-publisher as well – is that photographs and colour versions of art work cost a lot to print. Traditional publishers are not going to take the risk on something so expensive, so self-publishing really is the only way to go. Finally, it was mentioned that works by children should be self-published, because many trad publishers will not work with minors. In my opinion, I don’t care about the age – if the author has written something people think should see the light of day, then try the market. “But it’s by a kid!” is the rebuttal. If that means it is not very good, then why publish it? Age should not matter; I am a gatekeeper in that regard, and think quality matters. So, some extra comments about self-publishing which I am sure will generate even more vitriol. But I hope I have answered some of the questions the first post created. |
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