Sounds okay on the surface, right? Finally, PW is going to acknowledge that the tides of traditional publishing have turned, and there are merits to the self-published book. Its new quarterly supplement, PW Select, will announce self-published titles and review those they deem deserving. The listing will include the name of the author, book title and brief description, along with ordering information.

Even the $149 “processing” fee is somewhat palatable since it is offered with a six-month subscription (a $90 value, however dubious).

The processing fee does not include a guaranteed review. But ostensibly, this is because of their very high standards: “We briefly considered charging for reviews, but in the end preferred to maintain our right to review what we deemed worthy. The processing fee that guarantees a listing and the chance to be reviewed accomplishes what we want: to inform the trade of what is happening in self-publishing and to present a PW selection of what has the most merit.”

But wait: “…we’ll likely invite a few agent friends and distributors to have a look at what we’ve chosen. No promises there, just letting some publishing friends take advantage of the opportunity to see the collection.”

All right. Ick. “We’ll likely”? “No promises”? So basically this is just a way to squeeze some cash out of already bootstrapped self-publishers? I’m shocked that Publishers Weekly would sink to such a low. Are they that strapped for cash? PW Select is nothing more than a thinly veiled attempt to increase revenue without offering anything of real value. Call it what it is: a paid advertisement. Agents and publishers are not going to pore over these listings to find projects. And to attempt to mislead authors into believing this is the case is low. Really low.

I’m all for Publishers Weekly acknowledging that indie authors are becoming a major force in the world of publishing. But for them to do it this way leaves a real bad taste in my mouth. I can only hope that self-publishers—and I refer to those who have not gone the vanity route—will recognize this for what it is: just one more way the traditional publishing world is attempting to draw a distinction between traditional and indie publishing. And readers really don’t care who the publisher is, as long as they like what the author has to say.

Basically, the blogger writes that most proponents of self-publishing fall into one of three groups. He writes:

1)     Clueless.  These people are generally victims of a vanity press scam.  They believe that people like Stephen King pay to publish their books.  They are to be pitied more than censured, and the best thing you can do for them is to send them a book contract for them to study. It might take days, but I suspect they will eventually realize that the money flows toward the author.  Sadly, much of this is their own fault – the information necessary to avoid scams is readily available, all you have to do is make a minimum of effort.

2)     Conspiracy theorists.  These are actually a subset of number 1, people who think that editors and agents are there to keep new writers and new ideas from ever hitting the shelves.  This particular group is just as irrelevant as the first, because it shows that they haven’t done their homework.  Or maybe it’s just easier to believe that there’s a conspiracy than to accept the sad truth: the writing you are subbing just isn’t good enough for public consumption.  Not liking the options (get better or get out), these people went the self-publishing route.

3)     Economists.  It’s better to keep all the profits yourself, right?  Why pay these editors, copy-editors, formatting people and especially artists, when I already have a great book – my first draft! – and I can format it myself, and use a cover design made by my niece, which is just as good.  And who needs publishers when I can upload it to my kindle.  And if I go the print route, I’ll sell them myself, after all, authors have to be great salesmen, don’t they?  I’ll make a fortune.  All I can say here is: probably not, and your cover art is making my eyes bleed. 

To which I respond that he is forgetting a fourth category of self-publishers—the savvy ones who realize they need to have their manuscript professionally edited and their interior and cover designed by an artist who knows book design. These are primarily professionals who have an important message to get out there. Often they are in a niche market and regardless of the quality of their writing, most publishers have to pass because these books will probably not become bestsellers. Even some novelists are taking their own destiny in their hands by self-publishing. These “indie” publishers want to maintain complete control over their work from a creative standpoint (you don’t always have that option with a traditional publisher)—and some of them just enjoy the business aspect of publishing.

Does getting hundreds of rejection letters from publishers somehow make a writer more noble? Does it make him or her a better writer? Authors who self-publish the right way—by making sure they are putting out a top-notch book, both from an editorial and design standpoint—have accomplished something of which they can be proud. I think anyone who believes there is some sort of high standard to which traditional publishers are held today is kidding him- or herself. Sadly, it is no longer about the writing.  It’s all about whether or not a publisher believes a book will make money or not.

Going through a vanity or subsidy press is not self-publishing. It is paying another company to publish your work. It is very different from true self-publishing wherein the author/publisher has his or her own company imprint on the book and owns the ISBN. I agree that the only appropriate use for a vanity press is to publish a few books for posterity or for family archives.

The blogger also writes:  “Then, after the thing is written, someoene [sic] who knows how to select the best work will choose what gets seen, and someone who knows how to edit will edit, and someone who knows how to market will market!”

I also want to point out that traditional publishers do very little to market the books of their midlist authors. Writers who think that their work is done once they sign the contract and send in a completed manuscript are naive. You’ll earn a spot in the publisher’s catalog and on their website, but beyond that, the onus of marketing is firmly resting on the author. I can attest to this first-hand as I worked for a trade publisher and I’ve recently been published by a trade publisher. My co-author and I are the ones who came up with a marketing plan–and we are the ones who are implementing it.

I realize that self-publishing can be looked down upon because far too many books have been done poorly — badly designed, dubiously edited ego pieces. But the fact of the matter is, self-publishing is going to continue to be a viable option for authors who are tired of slush piles and gate keepers.  And I really don’t get how this hurts “real” writers? They should be grateful for the increased lack of competition, right?

I’ll start by saying that I am not the average person who has no idea what lurks in slush. I spent many years in the trade, going through those very awful slush piles that blogger writes about. And it’s true; there is some real crap out there. And everyone does not have a book in them.

That said, this does not mean that every acquisitions editor working for a major publishing house would know slush if it came in a cup. There is plenty of junk out there that is sitting on the bookstore shelves right this second. Some of it is written by bestselling authors or celebrities, ie, the publishing companies know it will sell. To imply there is some rigorous high standard that always goes along with book publishing is untrue. It’s about money, pure and simple. For most houses, there is no loftier goal than publishing what will make money—regardless of whether it is crap or not.

I fully agree with this, from the article: “I do have to say one thing in defense of self-publishing: it is a very useful tool for people who have a niche audience or their own book sales channels. Ideally, both. Most traditional publishers may not do ‘niche’ projects (not a large enough target market to justify general trade publication).” But may I also add that traditional publishers today are also looking for authors who have a built-in platform—before they sign the contract. Because the reality is that most trads do little to promote their mid-list authors. It is primarily up to the authors themselves.

I also don’t believe that every self-published author believes The Man (as Kidlit refers to the trads) is holding them back so they must “settle” for self-publishing. There are plenty of savvy authors out there—check out indie author and publisher Zoe Winters, for instance—who realize the odds are not in their favor. It isn’t because their work isn’t “ready”; it’s simply because there are a finite number of books being published by traditional publishers. As publishing houses have gobbled one another up in recent years, there are even few opportunities to be published. It isn’t about feeding the ego by getting a “stamp of approval” from The Man for these authors; it is about sharing their message. And if you truly have something to say, wouldn’t you rather have a few people hear it rather than none?

I think it’s misleading to tell writers that when your manuscript is just as perfect as perfect can be, you have a very good chance of being picked up by a traditional publisher. I think that’s overly optimistic. My husband’s heavy metal band is very good—all members of the group are accomplished musicians—but the reality is that they have virtually no chance of being picked up by a major record label. They know that. But it doesn’t stop them from wanting to be heard anyway.

“I’m only interested in people who grow, learn, polish, adapt, and set their sights on the difficult goal of traditional publication. It’s hard for a reason. Not everybody gets to do it.” What about the indie music scene? Should my husband’s band not put out their own CDs because they are pining for some major label to sign them? What about indie movies? Are they any less of an achievement because they are not produced by some major film company?

“But most people who self-publish don’t have a niche book or a good marketing strategy: they want to target the mass market. They have a project that would appeal, in their opinion, to everyone and anyone. And self-publishing a book intended for a trade audience is where these would-be authors get in trouble. Because reaching a mass audience — casual readers — with a self-published fiction project is nearly impossible.” I say there are plenty of self-published authors who go into it with their eyes wide open and their expectations realistic.

It’s unfortunate that with the advent of the so-called “self-publishing companies,” such as Author Solutions and Lulu, way too many people dive right into “self-publishing.” (Incidentally, this is usually “vanity” or “subsidy” publishing, which has somehow become lumped in with true self-publishing wherein authors set up their own imprint and have their own ISBN under which to publish books.) I have a real issue with these cookie-cutter, assembly-line service providers who enable authors to publish their slush on the cheap. Would I consider publishing these books an “achievement”? Not usually. Do I consider truly self-published authors who work hard writing a good, salable manuscript; have it critiqued and edited by professionals; and have the book well-designed as having achieved something? Absolutely.

Yes, there are those who “who don’t believe what editors and agents keep telling them: their work isn’t ready”—or that their work is just bad. I say, let those people go publish with Lulu. Their book will be available on Lulu.com, where approximately zero people actually go to buy books. What I’d like to see is the true self-published authors not denigrated for what they’ve done—because it is a real accomplishment.

Traditional publishing is not exactly known for embracing change (anyone want to talk about the fact that returns are still allowed?!), but I think maybe The Man is going to have to adjust his way of thinking whether he wants to or not.

That, of course, is nonsense. For many authors, self-publishing—independent publishing—makes the most sense creatively and financially. These are the authors who have done their homework. These are the authors who are original and creative—and who know what it takes to run a successful publishing business. The quality of their books—both the way the work is written and edited, and the way it looks physically—matches that of those put out by large traditional houses.

Potential readers pick up their books not knowing—and not caring—who the publisher is. (Do you know who Stephen King’s publisher is? Do you care?) I’ve been criticized for saying that a well-done self-published book should not be identifiable as such; apparently it’s somehow “immoral” or “misleading” to put out a quality, top-notch piece of work. Eh. Whatever.

Indie publishing is here to stay, and I hope as more authors do it “right,” any remnant stigmas ultimately fall to the wayside.

Meanwhile, though, how do you make sure your book does not scream SELF-PUBLISHED and is judged by its cover and its content? Assuming you have a unique, compelling manuscript in the first place, here are some tips:

Have your own publishing company imprint and your own ISBN prefix. Head over to Bowker and buy a set of ten numbers—or a hundred if you have more than a few titles planned. If you are truly self-publishing (ie, not going the subsidy route), your publishing company must be listed as the publisher of record. If you’ve got Outskirts or Author Solutions or others of their ilk listed, they are the publisher—and you haven’t actually self-published. (Reference the subsidy link, above.)

Get your manuscript edited by a professional. Regardless of how good a writer you are, you probably cannot effectively edit your own work. I know I can’t—and I’ve been an editor of other people’s work for more decades than I care to remember. I can’t tell you how many times I’ve gone back to read something I’ve written only to be shocked by some glaring error I overlooked. Self-published books have a reputation of being badly written and poorly edited; make sure yours is neither.

Hire a professional to design your book cover. There are a lot of very inexpensive self-publishing options available today, most of which offer templated cover designs. They are all pretty awful and amateurish.

I recommend most authors hire a typesetter to design and layout their book’s interiors as well. If you are pretty tech savvy and can work a program such as InDesign, however, you can probably get away with formatting the interior yourself.

Don’t expect indie publishing to be easy. But do expect it to be rewarding—especially if you do it right.

(Cross-posted at the Writer’s Digest website.)

But the more I thought about it, the more annoyed I got. His condescending and disparaging view of “self-publishers” started to tick me off. First and foremost, the “self-publishers” to which he is referring are really authors who are going the vanity press route. And those pay-to-publish authors have been mostly scorned from the very beginning. Clearly, Keillor does not understand the traditional self-publishing model, wherein authors start up their own imprint and spend quite a bit of time and money to make sure the book they produce is top notch. These authors often hire companies that provide author services (note that this is quite different from pay-to-publish) to ensure their manuscripts are well edited and their books well designed. (Shameless plug opp: Yes, services such as Self-Publishing Resources.)

Second, he is clearly assuming that all self-published authors go that route because they were not “good enough” for the trads. Nope. There are many good reasons to self-publish, including maintaining creative control, making more money (yup, making more money), and producing the book more quickly, to name a few. And heck—you’re going to have to market and promote your own book anyway (the trads won’t do it for you!)…you might as well be in charge of the whole process and pocket all of the profits from your efforts.

Is a manuscript better just because you “mailed it to a New York publisher in a big manila envelope with actual postage stamps on it”? Because you typed it on a typewriter? Because you enjoy an “aura of martyrdom”?  All that sounds kind of romantic, but the past is the past.

I do agree that there is a lot of crap out there right now, but most of it falls within the subsidy press category. Once people begin to understand the difference between vanity publishing and independent publishing, I think (I hope!) that will begin to change and we will see more thoughtfully produced books. As more and more book review sites begin to cater to self-published authors (whether they are pay to publish or truly self-published), even if they are not the New York Times, I believe honest reviews will start to separate the wheat from the chaff. One thing I do know: Self-publishing is not going anywhere. Neither is the Internet. Or the cell phone. Or the microwave.

And does anyone else find it pretty ironic and kind of hilarious that Keillor’s article is surrounded by ads about self-publishing??!!

 Authors: Joe Gregory and Debbie Jenkins

 Publishing Academy, 2009

Back cover synopsis: Renegade publishers, Debbie Jenkins and Joe Gregory, share their hard-won experience to show you exactly how to make a fast and impressive income as a non-fiction author in six easy-to-follow steps. This book obliterates the outdated “truths” of the publishing business and shows you what it really takes to succeed in the new publishing economy. Whether you’re a budding author looking for your first break or a published author wanting to take your sales, profile, and income to the next level, you’ll love what you’re going to learn when you read this book.

Traditionally published and self-published authors alike will benefit from this handy guide. It provides a realistic plan for authors who truly want to sell books and make money. I enjoyed the irreverent tone of this easy-to-read book.

Divided into six practical steps, the first three cover coming up with a winning book idea and then getting it down on paper. Even those with a book already in hand will benefit from the tips on creativity, including the WWWD (What Would Walt Disney Do) approach. Word association and Mind-Mapping are also discussed at length. If you don’t already have a finished manuscript but just an idea, this chapter will help you determine whether or not it has bestseller potential.

Step four thrashes out the options for getting your book published. The authors go over the pros and cons of traditional publishing, self-publishing, and subsidy/vanity publishing. (I think my favorite line in the whole book is “I’d basically said, ‘Vanity presses are a complete waste of space!’”) They weigh-in highly in favor of self-publishing for nonfiction books, and they explain why—basically because authors retain intellectual control and they have the potential to make a lot more money this way. The practicalities of self-publishing are also covered, such as obtaining an ISBN, using Lightning Source as a printer, and getting distribution.

Final chapters get into the specifics of “selling loads of books.” There are a lot of lists (the authors seem to favor these and they are peppered throughout the book), such as “3 Reasons Why Brick and Mortar Stores Aren’t Worth It,” “5 Reasons Why Self-Publishers Should Focus On Selling Through Online Bookstores Instead,” and “44 High Impact Book Marketing Tactics That Work.”

Final sections of the book list useful publishing and promotion links, as well as a bibliography. Although the table of contents is quite extensive, that does not take the place of an index, which the book doesn’t have. I am a strong proponent of all nonfiction books having an index.

This book should be on the shelf of every author who wants to make money instead of mistakes.

So you self-publish your book but then what? Just because you’ve built it, they won’t come. High street bookstores are unlikely to pick it up, and Amazon will take it for a few bucks but won’t highlight it unless it miraculously becomes a best seller. Most good journalists won’t review it (trust me, journalists don’t take self-published books seriously) and unless you’re a marketing or PR guru, it’ll be very difficult to promote it well.

Actually, if you publish traditionally, you are still going to be expected to promote your book. And in fact, you will likely not get signed on with a traditional publisher if you don’t already have a strong author platform with lots of potential buyers. When I was managing editor for a trade publisher, almost every single author we signed on was shocked to learn they were expected to promote their books. But the truth is, the bulk of our marketing was to plop the book into a catalog and send out a few news releases in hopes of getting a review or two. Anything beyond that—well, there just wasn’t a budget for it. Granted, that was a smaller press but even if you do manage to snag one of the major players, they are not likely going to spend their marketing bucks on a new author (like advances, marketing budgets continue to shrink). They’ll spend their money promoting whoever their current James Patterson is—and you will likely be lumped in with the rest of the midlist authors who enjoy little or no marketing budget.  

In addition, if you self-publish properly—start up your own imprint, purchase your own block of ISBNs, and have the book well edited and well designed—as opposed to going the subsidy route (often incorrectly called “self-publishing”), reviewers should have no idea you are self-published. Your book is simply a title from a new independent publisher. And there is no stigma there.

The next hurdle is trust. Sadly, self-published books have a bit of a grim rep. Whether it’s because people associate them with their Aunt Bettie’s History of Littlehampton book with its funny photoshopped front cover, or because they’ve read a self-pubbed book chock-a-block full of mistakes (which, sadly, most self-pubbed books have due to the lack of a decent editor and proof-reader), there’s not a great deal of respect for self-published books despite there being some decent ones out there.

See my point above about putting out a top-quality book. It should look just as sharp as any other book put out by one of the big houses. And again, done right—there is no way readers can tell if a book is self-published or not.

This is why self-published books on average sell dozens (if you’re lucky hundreds) whereas traditional publishers tend to sell in the thousands.

This is true of subsidy published books; these are often called self-published but in reality they are pay-to-publish vanity pieces. They sell few copies because they are often poorly done—and they are usually not priced competitively because authors are forced to purchase the books from the subsidy at an inflated price. In order to make any kind of profit, the books are priced too high—and they don’t sell.

Authors who self-publish in the true sense of the meaning are able to price their books competitively, and if they have a solid promotions plan, they tend to sell books in the thousands—sometimes tens of thousands.

Now if you’re one of those writers who doesn’t care about book sales and it’s all about the love of writing, then self-publishing is worth a shot.

To this I say—if book sales and profits don’t mean anything, by all means, go with the subsidy presses such as Outskirts, iUniverse, and Author House. If you want to make money—self-publish the true way.

But consider this: you’ve spent a year or so writing your book, maybe more, maybe less. So why not try to get paid for your hard work, rather then pay, as you would with self-publishing. Just give it a try, you know? For a start, most reputable traditional publishers will pay an advance (usually in the thousands if through a larger publisher). Then you’ll get royalties for every book you sell (once you make back your advance).

It’s pretty common knowledge that advances from traditional publishers have gotten smaller in recent years.  You’ll still fare much better by self-publishing and keeping all of the profits rather than just 10 percent or so since you have to promote the book anyway. Yes, there will be editing and production costs, but with print-on-demand, you won’t have to lay out a bunch of cash for printing. (And remember, you’ll want to hire a professional editor before sending your manuscript to any agent or publisher, even if you are publishing the traditional route—so that expense, along with promoting, is also a given.)

Don’t forget too that once you sign that contract with a traditional publisher, you lose a certain amount of control. They may change the title. They may edit drastically. They may come up with a cover you hate. They may delay your publication date. But you’re probably stuck with their decision.

Even Kevin Weiss, CEO of a huge self-publishing company in the US (Author Solutions), admits 80 per cent of their authors fail to break even whereas traditionally published authors always do as they never had to fork out in the first place.

Author Solutions is a subsidy publisher—you can’t have someone else “self” publish for you—but I agree that those are some pretty grim sales statistics. Sadly, they are all too true.

And then there’s being able to tell people you’re a published author. Most savvy people will not accept you are one if you’ve paid to have your book published because, as I’ve said before, anyone anyone anyone can self-publish.

Yes, anyone can self-publish, but what you are talking about here is subsidy publishing, or vanity publishing. True self-publishing is a complicated process, and if it’s done well, it generally garners nothing but respect for those who have been through it.

As for the idea that your amazingly successful self-pubbed book will garner the attention of traditional publishers, this does happen but not often. Your chances of getting an agent and then publisher are higher.

I would have to disagree with this point as well—unless you’ve already got a well established platform and a large following, your chances of getting an agent and then a publisher are very small. Very small. You are much better off self-publishing (doing it well) and establishing a track record of sales with which to approach a traditional publisher. That, of course, is if you want to at that point. You’ll likely make more money if you keep it as a self-published title.

So what I’m saying is, give traditional publishing a chance first. Don’t let people tell you traditional publishing is a pipe dream; that getting an agent is impossible; that self-publishing is the first and best option. It isn’t. The fact is, if you write a damn good book, someone will take notice and maybe you’ll get published and maybe you’ll make money.

I agree with this—only when it comes to fiction. As far as nonfiction titles, however, self-publishing is often the best and fastest route to publication. By the time authors wait around for umpteen rejection letters from traditional publishers, self-publishers could have been reaping the rewards of their published books for months…even years. This doesn’t mean self-publishing is right for everyone; but it is most certainly a viable option for those who want to maintain control and keep all of the profits.

So what is true print-on-demand printing? It means that books are first sold, then, using digital printing, one or more copies are created to fill the order. Although paperbacks are more common, many companies can now do case-bound books with dust jackets as well. Books are shipped direct from a POD vendor to the customer, who receives what looks very similar to a book printed by a traditional book manufacturer. Many books are shipped from POD vendors—Lightning Source or BookSurge (now merged with CreateSpace), for instance—to wholesalers or retailers such as Amazon or Ingram.

There are some drawbacks to this method of getting into print. Many publishers are still discouraged by the print quality and poor vendor customer service, reporting blacks that look gray and whites that are off-white. Illustration and photo reproduction might be uneven and patchy. Margins can vary from copy to copy. Paper and cover stock choices may be limited and of lower quality.

Yet there are several advantages to print-on-demand: You need no warehouse because there is no inventory to store. And there is flexibility: Suppose you decide you hate your title or cover? Change it! One publisher reports that her company prints each new title digitally and prints just one hundred copies. This is enough to work out any kinks as well as to market that particular title. If you’ve got a backlist title that sells slowly but which you’d like to keep in print, you can do so fairly economically, running just a few copies at a time.

There is also an element of speed. If you’re dealing with a timely topic, POD by a book printing company will get you books faster. Some vendors can turn out a book in two or three days; others promise two or three weeks.

If you go through an outfit such as Lightning Source, your book will be picked up automatically by Barnes & Noble, Borders, and so forth. This is a distinct advantage for self-publishers for whom distribution is often an issue. I predict this circumstance will continue to evolve, making POD books more readily available in brick-and-mortar bookstores.

So what will it cost you to ride the crest of this new wave? Prices vary. Lightning Source prices differently even for the same title, depending on whether the book is being sold to wholesalers for distribution or to the author for resale. This can be an issue if the primary source of sales is going to be back-of-the-room sales by the author, for instance.

An advantage to Lightning Source, however, is that they allow the author to set the discount with retailers. Discounts normally run from about 55 to 40 percent, but Lightning Source allows authors to set the discount as low as 25 percent. Although this technically allows publishers to keep a significantly portion of the profits, some retailers will not want to sell books at such a short discount.

CreateSpace sets a mandatory 40 percent discount to its retailer—primarily Amazon—but will require a deeper discount for publishers who sign up for its expanded distribution service to bookstores.

Generally the charges for printing are based on the length of your book (so much per page) plus a cost for the cover. Get quotes so you can compare costs, terms, and turnaround times. And ask where the normal price breaks fall. Here are a few guidelines: For a 250-page paperback book with a four-color cover, one POD printer charges $8.60 each for a quantity of 50, $5.13 each for 100, $4.49 each for 500, and $3.50 per book for 1,000. Hardcovers are considerably more, going for $15.87 apiece for 250, for instance, and $12.47 per book for 500.

I’ve heard of prices as low as $3.49 per book and as high as $20.00 and more. (POD may not be your answer if you’ve written a 600-page romantic saga!) Be sure to determine both the interior price and the cover price. The hard reality is it’s simply more expensive per book to print in these small quantities, but if you are unsure of expected sales, it sure beats having a pallet of books sitting in your garage, unsold. Do your homework and decide whether book digital printing or offset printing makes more sense.

The reality is that using a “self-publishing company” (which, in actuality, is a subsidy/vanity publisher calling themselves a self-publishing company) is a “kiss of death,” according to many industry professionals, including publishing expert Pete Masterson. Pete is principal of Aeonix Publishing Group and author of Book Design and Production: A Guide for Authors and Publishers. He has graciously allowed me to reprint here a response gave to an author in a self-publishing discussion group. It clearly addresses not only the typical breakdown of discounts offered to retailers, wholesalers, and distributors, but it also shows how thing might not add up when authors go the subsidy publishing route.

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Pete wrote:

…When you publish using Lulu or another of the “self publishing companies,” your book may not be widely available through the distribution process and if it is available, it may not have the “normal” discounts expected.

In publishing, everything is based on the list price of the book. The typical breakdown is as follows:

Retailer receives a 40% discount off the list price. They may set any price they wish to sell the book at, but they pay 60% of the list price to whomever they purchased it from—usually a wholesaler or distributor.

Wholesaler (this would be Ingram or Baker & Taylor, usually) receives a 55% discount off the list price. They pay the publisher (or distributor) 45% of the list price. The wholesaler then sells to retailers at 40% off—so they keep 15% to pay their costs, etc. There are certain incentives and other deals where a retailer may receive up to 48% off list price—but that’s between the wholesaler and the retailer. (Wholesalers do almost no marketing to retailers to promote purchase of specific titles.)

Distributor (could be one of many smaller firms) sells directly to retailers at a 40% off list price discount and sells to wholesalers at a 55% off list price discount. Distributors fees tend to be complex and may vary depending on the specifics of the services they provide to the publishers. Distributors may have a sales force or use other means to generate sales with retailers. Larger distributors usually will not accept single book publishers and, in reality, can’t do much for one anyway. Some fulfillment services have expanded into distribution (in recent years) offering “distribution” to Ingram and (sometimes) Baker & Taylor. These fulfillment service/distributors often are less expensive than a full distributor if your goal is simply to get listed by Ingram. Since prices vary, it’s hard to say exactly what it costs —but typically, the publisher will “give up” 10 to 15% of the list price to the distributor.

Fulfillment services tend to charge for the services rendered. The fulfillment service takes care of work that is normally the responsibility of the publisher (shipping books to wholesalers, retailers, and the public). Some offer order-taking telephone services. Charges vary and it is well worth shopping around.

Now, what does this leave for the publisher? If you can sell through a primary wholesaler, then you “get” 45% of the list price for each book sold. If you use a distributor, you receive 30 to 35% of list price for each book sold.

At this point, you will begin to see the problem. Lulu (and other subsidy publishers) “take” a cut on the sale of every book. Your cost per copy may well be above what you will receive upon paying for the printing and profit to the subsidy publisher. The solution (which is no solution) is to raise the price of the book. That makes books over-priced, and then they do not sell.

Or Lulu has set you up with a “short” discount through Lightning Source, Inc. (that is who prints the books in “global distribution”). If Lulu established a discount below the “standard”55%, then the bookseller would not receive the 40% discount—and then they will not order the book. (Amazon will list the book, because they list everything.) Also, if you have not arranged to have the books “returnable” then the bookstores will, again, not order your book.

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It’s a crazy business like none other, this thing called publishing. But authors who have stars in their eyes about seeing themselves in print and decide to go the low-cost subsidy route need to have realistic expectations about potential profits (if any). They may not pay upfront as they would if they were truly self-publishing, but they will likely pay in the long run.

Sometimes the numbers just don’t add up.