To Publish Or To Self-Publish?
I’ve been thinking lately about the real value of getting published vs. self-publishing. Of course, as a poet, it’s a different question than it is for fiction or nonfiction prose writers, who have more paying options (though also more competition). So I hope some prose writers (as well as poets) will chip in their views in the comments.
It’s the general wisdom that getting a book published by a press is worth more than putting the book out yourself. But what exactly is this value?
In terms of economic value, a press can supply professional support in marketing, editing, design and production. There are a few better-funded presses that take out ads in widely-read journals or other major venues, that set up well-attended readings, or that have connections to get well-placed reviews. But most poetry publishers (especially those open to emerging poets) have neither the money nor the staff to play a significant role in publicizing a book. In most cases, whether self- or press-published, the writer’s going to be responsible for sales.
With the availability of low-cost, professional-looking print-on-demand (often automatically distributed through popular shopping Web sites), the production support presses supply is of minimal value. In a way, it can even be limiting. The press run for poetry books is generally quite small, so a poet who’s good at marketing hir book might be better off with an open-ended print method. (Some publishers do use print-on-demand).
As far as editing and design goes, I think in those areas presses retain their value, although there do seem to be an awful lot of writers who make their living as graphic designers.
Of course, the main supposed benefit of getting published by a press isn’t economic – it’s prestige. Being chosen by an editor or contest judge tells readers this book is better than a book merely self-selected by the author, right?
But how much does the editor’s/judge’s choice really mean? Arguably, when you pay an entry fee for a book contest (or a reading fee for non-contest submissions), you’re just playing the lottery (at least, if you’re good enough to make the first cut, I expect it’s pretty much a lottery of taste after that). Although in this case, instead of paying a couple of bucks for a chance at millions, you’re typically paying $20 for a chance at $1,000. When you pay a reading fee to a publisher who doesn’t pay for the books or only pays minimal royalties with no advance, and who does nothing to help publicize or promote the book, what are you paying for but the off chance of a stamp of approval (often by editors/judges with limited, if not downright dubious credentials)?
Don’t get me wrong, I’m grateful to the many fine authors who have given their work freely to Fickle Muses. I too am more concerned with bringing my poetry to people who’ll get something out of it than with making money. I’m also grateful that FM’s contributors are willing to forgo prestige as well as money – I certainly wouldn’t contend that there’s much honor in being chosen by a couple early-career writers for a journal with a modest, though steady readership. We only promise to publish work that moves us and endeavor to bring it to others. (Our new art editor, whose selections will begin appearing in the spring, is in a different class. See her bio to the right.)
Personally, I’m still sending my first book out to contests & presses. For the time being, I’m still a sucker for the stamp of approval (and the chance of getting a few bucks I can use to promote the book on my own – though I might have saved as much not paying the fees).
Still, it seems a question worth asking – Is press-publishing really any better than self-publishing?
Electric Literature
Literary zines providing content in a variety of formats I’ve heard of. Literary zine paying writers $1,000 per story? This you’ve got to check out: http://flavorwire.com.
Poetry Superhighway Contest
Poetry Superhighway’s annual poetry contest opened yesterday, with entries due by Sept. 25. The fee is super cheap – $1 per poem – and everyone gets a prize – top three divvy up the entry fees, and others get prizes donated by poets and publishers – poetry books & services, generally.
Contest@PoetrySuperHighway.com
Originally posted May 19, 2009
FM isn’t featured, but it’s still pretty neat that there’s an annual anthology recognizing all the great work published online.
Originally posted May 1, 2009
Poetry Super Highway’s fifth annual E-book Free-For-All is on for today only, with 65 E-books available free until midnight: http://poetrysuperhighway.com/pshffa.html. I’m hoping to find to good poets I didn’t know about before.
Sari
Originally published March 8, 2008
Check out At-Large Magazine, a new literary journal produced by graduate students at Sarah Lawrence, including FM contributor Angela Williams (4.22.2007).
From the Web site:
“At-Large Magazine is about collecting the reams of brilliance that tend to go unnoticed by the myriad of Harper’s Bazaar knock-offs out there. We’re looking for people who love being frivolous, crass, write their lines with razor-sharp wit and aren’t afraid to explore the ugly, awkward and tawdry parts of human nature. Writers we’re keen of include Banana Yoshimoto, Aimee Bender, George Saunders, Chuck Palahniuk, Junot D’az, Bret Easton Ellis, Kim Addonizio, David Sedaris and Louise Glück. Some of us are also fond of Lypsinka.”
—Sari
Originally posted January 26, 2008
Here’s a myth-related call for submissions from Poetry Superhighway & Beyond Baroque Literary Arts Center:
A Poets’ Seder
Saturday, April 26th, 2008, Beyond Baroque Literary Arts Center, Venice CA
This is an open call for submissions for “A Poets’ Haggadah” to be produced and released as part of the “Poets’ Seder” event at Beyond Baroque Literary Arts Center in Venice, California on April 26th, 2008. The book will be compiled, designed and edited by Poetry Super Highway’s Rick Lupert.
The Haggadah is the book read during the Jewish Passover Seder which tells the story of Passover as well as guides participants through the ritual components of the seder.
The idea is to fill this unique book with reinterpretations of the themes and original text of Passover, written through the lenses of poets.
Submission Guidelines:
1) Send no more than three pieces of any style or length which specifically relate to one of the themes of Passover, with one of the 15 components of the Passover Seder in mind.
Some of the general themes of Passover and the seder are: Freedom, Slavery, We used to be slaves and now we’re free, Bitterness, Memory, History as memory, Telling a story, Plagues, Giving Thanks, Drinking Wine, Celebration, Praise, Festive Meal.
The 15 components of the Passover Seder and a brief explanation of each can be found here:
http://www.shalomatlanta.org/page.html?ArticleID=36809
2) Please indicate which of the 15 components of the Haggadah you have in mind with each piece you send.
3) Previously published material is ok but we’re eagerly looking for pieces which specifically relate to the themes of Passover and one of the components of the seder. (If previously published, please indicate where and when so we can properly credit.)
4) Please include a maximum 100 word bio.
5) Work may only be submitted by e-mail to submit@poetseder.com (PDF, .doc or text pasted into e-mail)
6) The deadline to submit your work is Monday, March 3rd, 2008.
7) If your work is accepted, you will receive one copy of the published book and free admission to the Poets’ Seder event at Beyond Baroque on April 26th, 2008.
8) Submission does not guarantee publication.
9) You will be notified by March 31st whether or not your work was accepted.
10) Some contributers will also be asked to participate in the Poets’ Seder event though acceptance into the book does not guarantee an invitation to read in the event. (This will mainly depend on our desire to have one piece presented for each of the 15 components of the seder as well as a desire to present varied material and the author’s ability to be at Beyond Baroque in Venice, CA on April 26th, 2008)
Need more info or clarification? Send an e-mail to info@poetseder.com
Originally posted September 23, 2007
A few weeks ago I finished reading the latest and last Harry Potter (for fans who haven’t gotten there yet, no spoilers will follow). I love the methodical structure, how a passing remark in one book can resurface as a central theme or character several books later. And I love the characters themselves (however fantasy’s naysayers may claim the genre never produces full-fleshed characters). The more alloyed the better – Snape and Sirius are my favorites. And it’s refreshing to see children’s fiction that doesn’t shield children from the reality of loss and mortality, or the simple fact that the good guys aren’t always good.
I’ve also been surfing the fan sites to learn more about J.K. Rowling and her take on the story. I found out the first book was picked up by an English publisher for a print run of all of 1,000 before becoming a bestseller with blockbuster movies to boot. That kind of story can make a writer wonder, what if? (Though as a poet, it would be a pretty far-fetched “what if” for me.) It would certainly be lovely to have the money to buy more time for writing. And millions of adoring fans wouldn’t be taken amiss either.
But real success, as far as I’m concerned, is to touch one person – even if it’s just one person listening at an open mic or reading a class assignment who really gets it, who carries some piece of it away with them. Of course, once you’ve had that one person, you can’t help going for another. If that one person becomes, say, a couple million, that would be pretty neat. Still, to touch one person makes a poem worth its existence, a writer’s effort worthwhile.
– Sari
Originally posted May 6, 2007
Those who have been following FM may recall a blurb in the news section calling for editors to join a planning group to form an organization serving online literary publications. The first phase is now up and running at http://www.onlineliteraryassociation.com.
Current content includes a survey of online literary journals to get a broad picture of who we are, where we come from, and where we want to go; and a forum for publishers to trade advice and experience. Other projects are underway. For the present, membership is free.
If you publish or are considering starting an online journal or e-book press for poetry, fiction and/or creative nonfiction, I hope you’ll stop by.
– Sari
Originally posted April 5, 2007
According to Joseph Campbell, there are three phases to the hero’s journey in all great mythological stories: Separation, Initiation and Return. Looking at the novel I’ve recently started, I can see that the three phases are in place – I did this subconsciously. My character receives a call (literally), goes on the road where she goes through several rites of passage, and then returns home a stronger woman. What if my character didn’t come home or never left home in the first place – would I have a story? I’ve read that there has to be trouble for a story to happen. I suppose my character could get the call and let the machine pick it up – just stay home wondering what would have happened had she gone on the journey; watch American Idol and eat Sara Lee cheesecake. Not much of a story, I admit.
Years ago, I was working on a story about a rabid dog (I know, I know). I was trying to figure out which of my characters should shoot the dog, when I was introduced to “The Writer’s Journey,” by Christopher Vogler, based on Campbell’s philosophy. From Vogler’s list of archetypes, I could spot my hero, mentor, trickster, etc. According to Vogler, it was the hero who should face death as initiation – how could I have missed it? When I sent the story to an editor, she said it was cliché (imagine!). I’ve realized since then, that my hero did not have to “shoot the dog” to go through an initiation. Often an inner conflict is a more dramatically satisfying rite of passage than a spectacular one.
– Leslie Fox
Originally posted February 15, 2007
Getting published takes a great deal of perseverance, talent, and plain old good luck. You’ve heard it before – submitting requires a thick skin.
For my part, I have two remedies for the rejection blues – a Wall of Rejection next to my computer, papered with notes of all colors, shapes, and sizes, and a healthy dose of sarcasm, which the well-intentioned insipidity of the standardized rejection letter provides excellent fodder for. Here’s a sample of the latter (you can guess which parts came from actual rejection slips):
Dear_____,
We regret that we are unable to publish your work at this time. We were just on the point of accepting it when an entire battle fleet of Martians burst into our office, pointed their ray guns at our heads, and said: “If you value your lives, the lives of your families, and the survival of the human species, REJECT THAT SUBMISSION!”
Your interest in independent publishing is important to our journal. Subscribe now at a discounted rate offered as a thank-you to our submitters, and help us meet our goal of hiring a private army to rid the publishing industry of the threat of Martian censorship once and for all!
Sincerely,
The Editors
– Sari
Editor
Sari Krosinsky lives in Albuquerque, New Mexico, with her partner and two cats.
She received a B.A. in religious studies and a M.A. in creative writing from the University of New Mexico. Her poems have appeared in Poesia, Pebble Lake Review, The American Poetry Journal, Arsenic Lobster, Verse Daily, and others. Fiction Editor
Leslie Fox lived in Central America during her formative years and in New Mexico since the mid-70s – before it was cool.
She writes novels, short stories, plays, screenplays and creative nonfiction. Some of her short fiction has appeared in The Medical Muse, red. a journal of arts, Earth’s Daughters and Earthships: A New Mecca Poetry Collection. She has a M.F.A. in creative writing from the University of New Mexico.Art Editor
Dianne Schlies is a practicing artist and has taught studio art since 1986. She received her M.F.A. from SMU at Dallas, Texas in 1990. She has studied or worked with David Bates, Mel Bochner, Squeak Carnwath, Harmony Hammond, Ed Harris, Joyce Kozloff, Mary Ellen Mark, Duane Michals and Robert Rauschenberg. Schlies presently teaches Drawing and 2-D Design in Albuquerque, New Mexico.