What Is a True Self-Publishing Company?

The internet is pregnant with publishers who claim they can help you self-publish your book. Most of them are either ignorant about what self-publishing is, or they are intentionally misleading in their online advertising. Of the three hundred thousand authors who will self-publish a book in 2012, most of them believe they are self-publishing when in reality, they are not.

The explosion of self-published books in the last ten years has attracted a flurry of new publishing companies, eager to get on the self-publishing gravy train. Self-published books now outnumber traditionally published books annually by a growing margin. These alleged self-publishing companies rely on the inexperience of eager, first-time authors who dream of seeing their books in print. Many online publishers are far too willing to take advantage of new authors by selling extras that are of little or no benefit to the marketing and sale of books. These greedy publishers make all their money from you, the author, and could care less how many books the public buys. They already got handsomely paid via your credit card.

If your self-published book sells well, it will have little or nothing to do with the publisher you used. However, when you need more books, the average vanity publisher will make two to five dollars on each book you print and they don’t deserve a dime because they have no money invested in your book. You paid for everything. If you have been taken in by one of these so-called, vanity publishers, you will overpay for unnecessary services and more often than not, wind up with an inferior, poorly produced book. Most vanity publishers don’t even require editing, but if you want an edit they will charge you for editing that will not necessarily meet modern publishing industry standards. I have a friend’s book, supposedly edited by a vanity publisher for $900, that has typos on every page.

You may be asking, how do I avoid going with the wrong publisher? The answer is so simple, you won’t believe it. There is one thing vanity publishers hate, one thing that makes it impossible for them to take advantage of you, one thing that will send them running like rats on a sinking ship, one thing that completely ties their hands. Curious? It is a number. Nothing else. Just a number. It’s a little expensive at $125, but you can buy ten for $250. You will need a second number for an eBook version of your paperback. I’m talking about International Standard Book Numbers, that thirteen digit number commonly referred to as the ISBN. It’s the number you see on the barcode on the back of books. Booksellers use it to order books listed by their ISBNs in the Ingram database.

That curious number is the key to being a true self-publisher. If you, the author, own it, you are a true self-publisher. If your publisher owns it and “assigns” it to you, you are not a self-published author. You just paid somebody to publish your book. And there is no such thing as an assigned ISBN. You either own it or you don’t, period. That brings us to the question of what a true self-publishing company is. Well, it’s not what you think.

I’m going to come right out and say it-there is no such thing as a self-publishing company. There are self-published authors, but no self-publishing companies. Don’t let it confuse you. A true self-publishing company is actually a self-publishing “facilitator.” They facilitate, or help authors become self-published. True self-publishing facilitators will help any author who wants to use his own ISBN (many, like selfpublishing.com, will insist). These are the good guys in the publishing world who will only charge you for services you order, like cover design, interior layout, editing and entry into the Ingram database booksellers worldwide use to order books for customer purchase. With a self-publishing facilitator, you will not sign a contract, you will simply pay for services you need, as you need them, through the publishing process, including final printing and shipping charges. When you need to reprint, they will accommodate you at less than the typical 50% discount vanity publishers offer. It will be more like a 70% discount.

There are no self-publishing companies-only self-publishing facilitators who will happily let you use your own ISBN. Author-owned ISBNs repel vanity publishers.

It Won’t Sell In Mali (Why Publishers Reject Your Submission)

In 2008, I mailed a paper manuscript of a novel to a large publishing house in New York.

Let’s clarify this first. In the era of online publishing, and at the very beginning of the incredible curve of e-books, here was a publisher who would only accept paper submissions. Why? Sure, some people read more easily from paper, but why a 6kg hefty block of A4, double-spaced and printed one-sided as though they were going to sit with a pencil making actual paper edits? The manuscript was heavy enough to kill a man, and to send it over cost me the equivalent of – I know this now – a small run of the same book in print.

I sent it over, with air mail and tracking number, and it… wait for it… got lost in the mail.

Right. I’m sure it did. I begged and pleaded with the subs editor who had simply said, “mail another copy” (another short run of the book in paperback!) that I could send the manuscript by email. Eventually I had the editor convinced that mailing the jolly book cost me a quarter of a monthly salary; and I was allowed to email it.

From what I know today, that was the point at which I lost the “sale” to that particular publisher. I had no chance beyond that point, the actual manuscript regardless. In fact it’s even possible that “losing it in the mail” was already the rejection slip. (But asking me to reinvest the horrendous amount for a second mailing, contra-indicates that. Unless that particular subs editor was really callous and out of touch, which I wouldn’t like to believe.)

When I emailed the subs editor three weeks later to see whether there was life, I was informed that my book was “good but nobody will want to read it”. Right, again!

At that point I felt like designing a “standard rejection slip” with tick-the-box options to include on submission letters:

“We’re rejecting this manuscript because (tick a box):

( ) We haven’t bothered reading it

( ) The characters are dumb

( ) The whole thing is a rewrite of “Lord of the Rings” (or fill in blank)

( ) We’re on our way to lunch

( ) The plot is so complicated our professional reader couldn’t see through it in the 5 seconds he gave it

( ) We don’t think it will sell in Mali

( ) We dislike the fact that the author hails from Albania

( ) other (fill in blank)

( ) Leave us alone we’re too busy decorating Christmas trees right now

Except for this paper submission, the bulk of my submissions were by email. Most of which, when followed up on, yielded “out-of-office”, “out-of-business” and altogether disappearances. We stood no chance: It was 2008 and the Leeman Brothers had closed shop. America was reeling from the burst of the banking bubble; a large percentage of Americans moved from employed to unemployed, from American Dream to trailer parks. And many, many publishing houses closed shop – small publishers first and foremost, as they were dealing with a double impact: The effect of desktop and online publishing, self-publishing ebooks and the rise of POD houses like Lulu.com and Bookhabit (soon followed by the now giant, Smashwords); the decline of paper book sales which are still a publisher’s life blood, and then of course also the American financial crisis.

Blogs prophesied the end of the world-as-we-know-it. (By now we know that blogs always do this, but back then they were new and we knew not.) Everything was in flux. A book? A novel, in 2008? Surely I had to be joking. There was “no future” for paper books, even less future for books in general. Luckily we’ve moved past all that and can clearly see the future of books again.

With the benefit of hindsight, here are some real reasons why books get rejected by publishers:

  1. The Budget. (Don’t you hate that one too?) The publisher already has all books lined up that she needs for the year; more don’t fit into the budget. To understand this, one needs to know that each book title presents a gamble.
  2. The Program. Publishers call for submissions in specific areas: “We need a book on Thai cookery.” This is to balance what they already have in stock to offer to bookshops: Three new novels, a school textbook on Life Orientation, an autobiography of one great sports star, a book on Ancient Cultures (full-colour, hard-cover coffee table book). Yours doesn’t fit the program? Bad luck.
  3. Book too similar to something currently on the market. “I don’t touch pirates and vampires with a barge pole,” a publisher once told me. Pirates? Because, of course, of Johnny Depp and the “Pirates of the Caribbean”. And vampires because (what she knew and I didn’t) the release of “Twilight” was imminent. She ought to have included “teenage wizardry” in that, as Harry Potter wasn’t yet cold.
  4. Book badly written. This is a no-brainer, and no author ought to be too proud to ask (and if necessary, pay) for professional editing before submitting.
  5. Submission letter badly written. Somehow, in those days I got the impression that submissions editors work through a hundred submissions letters a day, and if that letter doesn’t stand out from the masses, it is simply ignored. The advice ranged from weird to wonderful: Be audacious; be humble; give as much background as you can, sell yourself first; give a “taste” of your writing style, it must be so unique and off-the-wall that they can’t resist; make them laugh (har, har… ); frankly, none of it made sense. As a publisher, I like seeing a good, honest subs letter – “Hello there, I wonder if you can help me, I’ve written a book… ” to which I respond: “Sure, let’s talk”, and in my (personal) response I then give instructions as to what people must send me. But admittedly, a publisher who is laden with letters, wants to screen them. –> As a publishing house in such an overloaded position, I’d rather appoint more secretaries to screen the submissions, or train assistant editors. Because as a publisher one needs to consider each submission as a potential money-machine. More are, following that logic, better. And every web content publisher takes the time to have at least a nice, welcoming autoresponder; any business online who is serious about their business has actual people responding to incoming mail (and that includes giants such as Amazon). Whole teams man support desks. Usually they are a pleasure to work with.
  6. Offensive content. Authors should know better than go against what is socially acceptable in this day and age. However there may be a specialised niche for books that deal with certain historical events from an angle that doesn’t suit the mainstream press today; possibly a family’s personal experiences during some or other war. There are publishers who specialize in this; authors, pick your publisher, do research, see what other books he publishes. It’s so easy these days with the internet.

Having said that, it doesn’t exactly simplify submissions, does it?

There are many articles that give ideas whom to contact. Some say, submit to agents only; others say, cut out the agent and only submit straight to publishers that take direct submissions. The rules of submission are about the same (see above 6 points, and a few more). You need to be polite; brief; have a “hooky” introduction to yourself and more importantly, your book (remember, the publisher doesn’t care who you are if you’re nobody, but it may help to sell him on your book if it is about an expert field of which you are an authority); you need to submit exactly what he asks for (if he says, first 3 chapters, do not disrespect this by sending the whole manuscript).

Does this mean you’ll get published? No. Submissions are a gamble. See it as a lottery ticket. It doesn’t matter how you plead with fate, your ticket isn’t more likely to win than the next guy’s; the only way you can stand a real chance of winning something, is by buying plenty of tickets and not giving up.

You can stack the odds in your favour though:

  • Use your contacts: Go through someone you know. If you know someone in publishing, let them point the way for you; let them introduce you to agents or publishers. This is like buying a hundred lottery tickets instead of one. Your chances of having your submission taken note of, are 100%; your chances of being published are much better than if you are an unknown.
  • Polish your manuscript until it gleams, and then some. You make sure that there are no logical holes.
  • Enlist help. Get over yourself and give it to people to read, begging for feedback. Friends and family may try to spare your feelings; but you need someone who is harsh with you, so that you can improve. So ask pointed questions: Are there logical gaps? Are there mannerisms in the language that irritate?
  • Pay for editing. Once all the logical holes are gone, find an editor. There are any number online, if you can’t find one in your personal circles (in fact it’s better at first if your editor is a stranger, as a stranger will be less worried about hurting your feelings and more concerned to uphold his own professional standards).
  • Do submit to agents. An agent can do a lot for you, beyond submitting your manuscript to publishers whom he knows. Agents work very hard for their 15% of your royalty (which is, in the big picture, a very small percentage of the book’s selling price).
  • Also submit to publishing houses.

Following my experiences in 2008 – 2009, it is not reasonable these days of publishing houses to expect that you submit to one at a time and wait for a response before you make the next submission. Especially as they don’t seem bothered to write even rejection slips. Package your manuscript and submit (but in one-by-one, individual cover emails) to ten publishers / agents at a time. Then you wait for feedback, for 2 to 3 weeks, before launching the next package of 10. Reasonably, any publisher who hasn’t responded in 2 or 3 weeks has such an email backlog that yours is at the bottom. You will not get a reply.

It is fair to type each application individually: You need to address the particular subs editor or agent; and in your cover letter you need to let it shimmer through that you at least have read up on what they do. This is not an unreasonable demand; most have websites in which they state clearly what kind of book they publish. You greet them, if possible, by name (which you may have found on their site);

Subject line: The Submissions Editor


Dear Elaine Morrison

Then you give away that you’ve been to their site:

As per your website, XYZ Publishing is currently accepting submissions for Crime Fiction.

You then introduce yourself and state your intent.

I am a retired police detective and would love to approach you concerning the publication of my crime fiction novel, “The Blood Ran In Torrents”.

You give a short overview of what the book contains:

The book deals with an escaped convict who has made it his life’s mission to devise the ‘perfect crime’, one that leaves no evidence at all. The ex-con (Aidan Morrison) picks off one victim after the next, while detective sergeant Nadia Aranjuez follows his tracks, having vowed that she will catch him dead or alive after he murders her husband, Tony Aranjuez. The book alters from one POV to the other, setting the reader up to sympathize both with the psychopath and the detective.

I attach a short synopsis, as your submissions requirements specify, as well as the three chapters that are called for.

I am looking forward to your reply.

Yours respectfully

(*and your name.)

If I’m the subs editor on the other side, I’ll now have a look at your synopsis and, if that doesn’t turn out boring or offensive, your first three chapters. There may be a little tight moment when I realize that your psychopath shares my surname; some editors may take this askew, but don’t let it deter you as many others will be mature enough not to let it bother them.

Now how to write a synopsis is not within the scope of this article. However, if your subs letter is concise like this and it still goes without a response, then you can presume one of the following:

  • The publisher has closed shop
  • The publisher doesn’t employ enough staff to open all the emails and has given up on the backlog
  • The publisher forgot to update her website and in fact does not accept crime fiction submissions any longer.

None of these is something you can do anything about, so move onto the next submission!

And always remember:

They may have rejected it because they believe it won’t sell in Mali.


(c) Lyz Russo