Once you’ve chosen the indie writer path, you need to decide what products or outputs you want to provide. Common options include print, e‑book, audio book, and online serial. There are advantages and disadvantages to each, and there is no one-size-fits-all approach. Looking at your target audience to see how they prefer their media, and deciding what you can afford to spend on your launch are good starting points.
Indie publishing doesn’t have to
break the bank, but there are some expenses; these will depend on
your skill-set and the products you’re creating. Even if you’re able
to do all the technical work yourself, you’ll need to buy an
International Standard Book Number (ISBN) for each publication or
version of a publication.
Print Run vs Print on Demand
If you decide you want to offer
a print edition of your book, there are still a lot of choices to
make. Do you want hardcover or paperback? If paperback, do you want
mass market (sometimes called pocketbook) or the larger trade size?
Do you want regular print and large print options? Are you going to
do a print run or go with print on demand (POD)?
Print
Run
In traditional publishing, many
copies of a book are printed all at one time. This is a print run.
The goal is to sell all or most of the print run. If a book’s print
run sells out early enough in its publication life, it will go back
for a second printing. Indie writers can duplicate this process,
working directly with printing companies to produce hardcover or
paperback books, paying for the print run and hoping to sell enough
to break even or make a profit.
An advantage of a print run is
that it’s easier to sell something that people can take with them
right then and there. There are also some nice finishing features
that a print run can make available that don’t exist in print on
demand, such as a variety of bindings and maps on the inside front
cover and/or endpaper.
Each printed format of the book
(hardcover, paperback, large print, etc) requires its own run. If
you’re planning multiple print formats, or if you don’t have
investors or ready money to cover the outlay, a print run may not be
the best fit for you.
Indie writers who go exclusively
with a print run, rely on hand-selling their book at conventions or
events, and are directly responsible for all sales. Independent book
stores may carry your books on consignment, but it can be very tough
to get big chain stores to carry your books outside of their
distribution channels.
Print on Demand (POD)
Print on demand is a publishing
model where physical books are individually printed as they are
ordered. Modern technology has made POD an affordable and common
option. If you order a book from an online retailer, and the book is
scheduled to take a week or two to arrive, odds are good that it’s
POD book. POD printers can provide hardcover and multiple paperback
formats.
POD
printers often work with both print and e-book outputs. Many have
arrangements for distribution to retailers, national and world-wide,
which can take some of the burden of selling off the writer’s plate.
You must
follow designated formatting standards if you want your book to
qualify for distribution. This is a detail-focused task that
results in a
professional
product.
Unless you’re buying additional
services, POD has a very low cost to the author. You will need to buy
a proof of the book, a copy for you to review and make sure it
printed properly, before it will be released to the general public.
You may need to make changes and order an additional proof to confirm
the end product is as expected.
Once you’re happy with the
output, you can order your own mini print run of ten or twenty books
to hand-sell at readings or events. There’s usually a price break at
certain levels, making it worthwhile to buy a larger number, but the
per-book price will not be as low as it is with a regular print run.
A disadvantage with POD is that
many online retailers have contracts with various printing shops
around the country (or even the world), ensuring the book is printed
closer to the delivery address. These shops may not have the same
quality or standards, and indie writers can’t possibly know how that
quality compares. Like a print run, it can be very difficult to get
your books carried in brick and mortar stores, but big chain
retailers may have them available for online ordering.
E-book
Electronic books, or e-books,
are one of the easiest ways to dip your toes into the indie pool.
Many e-book providers also offer distribution (sometimes referred to
as aggregation). To qualify for wide distribution, your end product
will need to meet specific criteria ensuring that it looks
professionally produced.
There are many advantages of
going the e-book route. It’s relatively simple to set up and produce.
Depending on your skill set, and willingness to work through the
technical elements, this can cost as little as $25 (the cost for an
ISBN). Some e‑book production companies provide a free
ISBN; just read the fine print to ensure you aren’t going to regret
not being the owner of that number.
E-books become available
relatively quickly, often the same day you complete the publishing
process. Because of the low cost of production, these can be priced
low enough that curious readers may be willing to take a risk on
someone they’ve never read or heard of before.
A disadvantage with e-books is
the difficulty in standing out from the deluge of e‑books
published daily. While libraries are starting to carry e-books, it’s
not universal, making this a tough bottleneck to get through. Not all
audiences have embraced e‑books, so it’s critical that you know
your audience’s preference.
Audio Book
Audio
book is an output I’ve researched significantly but
haven’t been able to provide. I
have friends with visual disabilities who would benefit, and I know
several people who enjoy listening to books on the bus or long car
rides.
Like
a print run, audio
book has
more up front expenses than other outputs.
You can expect to pay your voice actors at
least $200
to $400. If you’re doing your own recording,
be
careful not to over-estimate your ability or
your equipment.
Theatrical or voice training can definitely help you out, but they
don’t
guarantee a successful product. The
reading quality and audio quality will make or break your audio book.
Online Serial
Online serial publication is another easy place to start, especially if you can stick to a schedule. It doesn’t require an ISBN, but it does require participation in a service that is set up for subscriptions and donations. If you’re tech savvy enough, perhaps you can program this into your own site. Most writers use something like Patreon or Wattpad.
This route is still relatively
new in the industry. The advantage is that writers can more directly
connect with their audience. Some writers use this to gain a
following, posting short stories and teasers for free to draw people
in, while providing subscribers regular chapters and higher level
content.
Disadvantages can include
difficulty in getting enough traffic, the pressure of providing
routine content for subscribers, and random changes in terms of
service (a problem Patreon has had several times in the last year).
Some writers don’t feel this counts as truly publishing, but if you
are providing content to readers, it does fit the definition.
⁂
On the surface these options can
seem really intimidating. If you’re finding yourself overwhelmed,
pick one to focus on at a time. There’s no reason you can’t roll out
various editions as you get more comfortable with the formats. Many
writers provide only one format, and that’s fine too. Going indie,
means you can do what works for you.
For the first article in this series, check out Part I. Or if you’ve just missed the previous article, check out Part II. For the next article, check out Part IV
For more articles on writing, check out my Reflections From the Sol section.
S.N.Arly 