Walking the fence in publishing

I can't help but at times feel that I still want it all.

Both a traditional path and self pubbing path.

Maybe it's my awkward need or my want to belong. Or maybe I don't like to be pigeonholed. Not force myself into one box or standard. Maybe I'm greedy. Maybe I have a dual personality.

I don't know what it is, but I find myself looking at my future with both sides of the fence in mind.

This side of the fence is hard!


Why do I still pine for the "old flame"sometimes ? Because indie publishing is soooo HARD!!!!! It's so fun and I love the control, but I'm exhausted.

I've had a great start. In 9 months, I've sold almost 15,000 books (5,000 just since September) but I admit I still feel a need to be a part of the traditional industry in some way.

As I've mentioned in the past - I wear soooooo many hats and with each book that comes out - those hats multiply exponentially. I have tried to put things in place to help to lighten my load but I'd admit - I over commit and there is always so much to do. Especially in marketing, which I have a hard time not doing. It's in my blood.

For example - today I want to do write but I have to gather and track my quarterly reports just to keep on top of my sales. And this is for every channel (which there are more than 5 for me right now)


My intern, Kate, has helped keep me stay organized. Love her!  But that is only a few hours a week. I miss those days of my agent cheering me on, giving me advice, complimenting my writing, and standing behind me. I miss having that one person on my side. At times, when I get tired, I find myself wishing I had someone invested in me again, someone that believed in me and my writing. Someone besides me and my mother :)

To keep self pubbing, I have to stay on it every day.

And some days I just want to write. Or breathe. Or watch TV or just be lazy.

But there are always many, many on my To Do list. And they all seem urgent with some kind of timeline. Besides PTA, family, personal, and girl scout stuff, there is all the other stuff that comes with self pubbing - the stuff beyond writing and promotion. And you have to do them all -  across several different projects. Keeping it all straight is almost impossible.

No matter what the opinion is, indie pubbing gets lonely and difficult. And it's HARD doing it all on your own. It's like owning your own business and it's growing but you can't hire any employees because it is not a guarantee.

I'm not saying traditional is not hard. But in self pubbing - you are a one man show. Always. For everything.


Walking the fence


Even as I pave my own way or find some level of success in this crazy publishing biz, at times, I still feel like the "odd man out" - on both sides.

In general, the traditional side of me questions some parts of self pubbing - how it is flooding the book world with a lot of "not so great" stuff. So, part of me wants a traditional publishing opportunity (that many self published authors don't agree with at all) so I can be the best I can be. I'm a good writer but I still make mistakes and I want to learn more.

But, then there is my self pubbing side which questions the validity of the traditional vetting process and the growth opportunities for authors (which of course many traditional authors don't agree with at all ).


So because of this outlook, I don't feel like I really belong to either side of the fence, therefore, always feel slightly awkward. Whether I am at a school visit or selling books at a conference. It's like high school all over again. I was a cheerleader but didn't really fit in b/c it wasn't quite me and you could tell. Yet because I was a cheerleader, other kids avoided me just because of the stereotype of a cheerleader. I should have just stuck with soccer or music.

It's hard to want both in this industry. It's like a war or something - everyone saying I "have" to choose. So what ends up happening is I sometimes get the feeling of walking down the middle and both sides firing because they don't know whose side you are on. Yet I don't want to put down either side and I want to be a part of both sides.

What about strategic decisions?

I believe there is a specific place for everything.


Why can't my decision to self pub just be a simple strategic decision in my career as an author? Why does it have to be one or the other based on opportunity or skill?

Self pubbing doesn't have to be a "way out" - you do skip the agent/editorial vetting process (no matter if you even want it) but it's hard to stand out. Hard to do it all on your own. The readers are the vetters. And trust me, indie authors can't get away with anything. Whether it is a couple of typos that slipped through your copyeditors fingers or the stigma, it always hangs over you.

Yet, trust me, for most self pubbing is definitely  not a "way in" either - generally it isn't a way in to traditional anyway so don't go into it for that. Agents and editors generally aren't seeking self pubbed books to redo. That is a very small percentage. And no matter what you hear, it's not 15,000 copies that gets you there, it is mostly luck or 100,000 sales with some press.

Self pubbing is about what works best. it's not always fair just like traditional pubbing.  In indie publishing - certain books sell better than others. YA suspense, contemporary, paranormal, and romance. New adult and adult romance as well as adult thrillers. Like it or not, you can have the best historical fiction but chances are it won't do great in indie pubbing.

What is my future? (rhetorical question ;)

Well, I am not someone who can just write to sell. To stay with the same series even though it makes money. That is probably good business sense for self pubbers and works well for many but I have other ideas I want to put out.

From a marketing perspective - some of my books just don't make sense to self pub and some do. Not all of my work would fit on both sides anyway. So why not choose some for one side and some for the other side?

So today, I am making my declaration public to the universe - I want both! Is that so bad? There are pros and cons to both sides and I want to experience both because sometimes you can only go so far unless you learn failure and success in new ways.

Yet I wonder if there is a place in the middle for hybrid authors to take the best of both worlds.

That one special project

Now I have one special project that could go either way in this industry. It's now choosing the way that is the hardest thing.

I have a new project - a timely YA cyber thriller that I think has great potential - but which way do I go? Do I self pub it and continue down that path knowing how hard it is? Knowing that sometimes there is only so far you can get on your own? Possibly limiting my readership potential due to limited distribution.

Or do I query agents/editors and start all over again? Knowing the book is timely and probably shouldn't wait 2 years. Yet knowing it has huge commercial potential.

And then if I go traditional with this story... do I query under an alias and hide all my sale information to get away from the stigma? Because like it or not - there is a stigma - whether you have great sales or not. Or should I proudly use my name and sales, knowing it could impact my book's chances. Maybe I should just hope to find someone who can look past the stigma of self publishing and focus on my skill and the book's merit. See my self pubbing as a win/a strength more than a weakness.

I've decided I want to be a hybrid author. Someone who is on the fence doing both - but committed to putting out good out books in the best way. Whether that is possible or not is the question.

This is not a popular view. I tend to choose those somehow. Many self pubbed authors want you to commit to self publishing, while many traditional authors say you are a sell out if you choose self pubbing. In addition, many agents and editors say you can't have it both ways.

I say why not? I truly see benefits in walking the fence.

How is now my question.

Marvelous Marketer: Mary Kate Castellani (Walker Books for Young Readers)

Hi Mary Kate. Thank you for joining us today.

Before we get started, tell me a little about yourself.

I’m an associate editor at Walker Books for Young Readers. I worked as an assistant to a literary agent for a year before joining Walker & Company, where I started as an editorial assistant. Being on both sides of the process has really been helpful when considering manuscripts and making deals.


In your opinion, how important is social networking?

Social networking can be a really great tool for reaching readers directly. Teens and tweens are constantly online and being able to access authors’ information is a great way for authors and readers to interact, but also distanced enough that both parties feel comfortable.

How important is technology to an author's marketing plan?

I’d say that the importance of a web presence is certainly growing, but it’s important that authors be comfortable in how they extend themselves online. Blogs are great because fans can get a slice of life for their favorite author, but it’s important to keep your audience in mind. If you’ve written a young adult novel do you think teens will be reading your blog? Or if you have a picture book or middle-grade novel, do you think it will be mostly educators and/or parents checking in?

Once published, it’s important to keep in mind that you might have to start tailoring the material on your blog to reach that audience. Blogging isn’t for everyone, however, and so I don’t think it’s an essential tool. At the very least a web site with updates about your books is the best place to start and then it’s good to think about how you can extend that reading experience for your fans. I’ve seen authors include elements like playlists that their characters would listen to, quizzes to see which characters readers are most like, and features that give the back story about writing the book. It should be fun for both the author and the reader!

Do you feel it is beneficial for authors to team up and promote books as a group?

Teaming up can be really helpful for authors because they feel like they are a part of a supportive and enthusiastic group. Beyond the kind of marketing push that a publisher can give a book, the most beneficial aspect of this is being able to cross-pollinate audiences between one author and another. If readers like one author and his or her work, they usually take further reading suggestions to heart and this is a great way to lead readers from one book to another.

When evaluating whether to take on an author or book, do you ever google them to see if they already have a web presence or platform?

I usually do check first to see if an author has a web site just to see how far along they are in the process. It’s not essential that a writer has a web site at the time of acquisition, but it’s always a bonus to be able to say that an author has already created a web site—especially because it’s a tool we’d want them to have at their disposal in the future. Knowing that the url is reserved and that at least the bare bones of a web site are set up means that when it comes time for the book to publish there will already be an option for a stepped up web presence.

A really good example of this is Walker’s author Simone Elkeles. When we acquired her novel, Perfect Chemistry, she already had a great web site for her previous titles. Then she created an excellent book trailer that got a lot of attention and drove the sales of her book. It was a great combination of online elements that really came together to spread the word about her book.

What things do Publishers offer in contracts in terms of Marketing? What does the average author receive or is it different, depending on the book?

Just as books differ from each other, no two books have the same marketing plan. What is most important to us is not how much marketing we put behind a book, but how specifically we target the areas where we know a book will have success. This means figuring out how best to reach the market for a book. Since resources are limited publishers pay close attention to making the best use out of allotted resources in very focused ways.

For example, is a book one that we know will have direct to teen appeal? Then perhaps a Facebook ad or a blog tour would do well by that title. Or is it one that is best served by appealing to the gatekeepers (teachers, librarians, parents). Perhaps then we’d focus efforts on getting the word out at educational conferences. Our marketing department tries to be as creative as possible, and is always thinking of new ways to try to make the potential audience as broad as possible.

What are you looking for? What are you interested in?

I acquire books for all age levels, and especially likes quirky, kooky picture books that celebrate personality, and middle-grade fiction with a light-hearted, honest approach like my current middle-grade project The Brilliant Fall of Gianna Z. I am also looking to find new YA voices for the Walker list, especially ones that have a more literary feel, but I also like issue-driven stories, such as my upcoming project Dirty Little Secrets, a story that explores the effects of compulsive hoarding on a family. My acquisitions wish list also includes historical fiction with a strong hook, coming of age stories handled with humor, and explorations of spiritual or cultural identity.