By Darren E Laws
By Darren E Laws
There are many different disparaging terminologies used to describe the current trend of authors and publishers embracing print-on demand (POD) and independent and self publishing, most of them instigated by an industry that sees little, if any, worth in the product being produced. Is this a valid judgement on the actual merit of each of these titles, be they fiction or non-fiction. Or is it the reaction to the democratisation of publishing. Like it or not the advent of new technology and the internet has levelled the playing field, but only marginally. Yet to hear the braying, antagonistic bashing it receives you could be mistaken for believing it was the cause of all the publishing industry’s ills. Let's not kid ourselves, independent authors and independent publishers are viewed as a blip on the landscape; the ugly pimple on the backside of a beautiful butterfly. So terminologies such as 'vanity publishing' exists to denigrate all who choose to tread what can at best be called a truly exciting experience and at worst a lonely and extremely difficult path.
Of course it would be foolish to suggest that each new POD title is worthy of mainstream attention and should reach a large audience. Many only reach sales that would preclude any form of career as an author, but this should not prevent them from reaching whatever audience they do attain, using whatever means possible. Is it not for the audience and market to judge one’s validity? How many times have we seen mainstream publishers handing out large advances like candy to authors who fail to produce that illusive best-seller, even with the backing of a huge marketing budget or the kudos of a prestigous award. I saw DBC Pierre’s follow up to the Man Booker prize winning novel, Vernon God Little, ‘Ludmila’s Broken English’ sitting on the shelves of ‘Poundstreatcher’. DBC Pierre, a winner in 2003, clearly struggled to retain the sales of his prize winning début. This is not a reflection of DBC Pierre at all, but clearly an indication of how the industry works and at times fails to work.
The question needs to be asked though; at what point though does a self published author become respectable in the eyes of the industry? Jhumpa Lahiri is the latest self-published author to make the industry sit up and take notice. Her latest collection of stories, 'Unaccustomed Earth' recently topped the US book charts and is in the running for the 35,000, Frank O'Connor International Short Story prize.
Yet the publishing industry appears to be ready to jump into bed with any celebrity, regardless of talent and ability to write (and one may even speculate, read) to publish not only their memoirs, but now the increasing trend of the celebrity novel (Usually a book so ghost-written that it would take a team of mediums to trace the actual author.). Often the only time a 'celebrity' would have written anything constructive in the book would be when they hastily scribble their moniker inside for an adoring fan who probably does not know or care what involvement the 'star' had with the work, as long as their picture adorned the cover. If ever the term vanity could legitimately be used in the industry with absolute accuracy then surely it is here. At least those tarred with the stigma of vanity publishing have had the tenacity, gumption and love of writing to have applied themselves to their work and actually written it themselves, regardless of the perceived quality.
So who’s fooling who, the author that for one reason or another might not manage to get their manuscript to the top of the slush pile with a mainstream publisher and decide to have the gumption to at least tackle the market head-on, or the publisher who commissions an army of ghost-writers to churn out fodder for the masses and endorse it with a ‘celebrities’ name? While you ponder that question think about this short list of authors who did not find instant success.
Norman Mailer - The Naked and the Dead - Rejected 12 times
Richard Bach - Jonathan Livingston Seagull – Rejected 20 times
Joseph Heller - Catch-22 – Rejected 22 times (Wouldn’t you know)
Robert Persig - Zen and the Art of Motorcycle Maintenance – Rejected 121 times, and of course John Grisham - A Time to Kill - 15 publishers and 30 agents before publishing it himself. It makes you wonder what the world of literature would be like if it were not for the tenacity of many authors willing to go that extra mile and not take rejection by the mainstream industry that for one reason or another could not see worth in the work being presented. These authors took that leap of faith, a leap of faith in their own work, skill, ability, tenacity and talent. They did not listen to the voice of rejection they said “Publish and be damned”