Self-publishing has its risks

I began representing authors late in 2008, shortly after self-publishing suddenly had become incredibly easy and no longer required an up-front contribution of cash. Optional, carefully considered investments in the editing, design, and marketing of a self-published book were likely to improve its popularity with readers and increase sales, but at the time, few eager self-publishers were thinking that far ahead. There were no barriers to entry and no obligations to understand the market’s demands. Making a book available to readers was thought to be, by definition, the only truly necessary element of publishing. The outcome was up to consumers, who would decide what they liked best. And they did.

For about a decade, self-publishing expanded exponentially and matured. Successful, entrepreneurial indie authors generously began to share their expertise online. Self-published and reissued out-of-print titles flooded the market, which, as expected, had unfortunate economic consequences for individual authors attempting to profit from their written works.

In 2008, plenty of aspiring authors believed that digital self-publishing, which sometimes incorporated a crowdsourcing component, would destroy the traditional, established trade book publishing industry. I wasn’t sure what to expect, but the acquiring editors with whom I discussed technological innovation back then weren’t feeling threatened or concerned. Today, the predominantly East Coast trade book publishing industry has adapted to the extent it was forced to, mass market paperback editions face extinction, and crowdsourcing has been usurped by crowdfunding—or, put your money where your mouth is.

The past decade began with writers asserting they no longer needed literary agents or traditional publishers and is ending with some of the same writers searching for literary agents or publishers who they hope might be persuaded to help reissue their self-published titles so the books can find a much larger readership. Of course, I don’t hear from the self-published authors who apprehend the demands of the market or the ones who are satisfied with the results of their efforts. A self-published author who had mastered entrepreneurship would realize she’d be asking me and a potential publisher to invest thousands of dollars worth of labor and capital in a market-tested book that had already publicly proven its value as an investment, and she wouldn’t waste her time trying to interest me in a book if it hadn’t sold phenomenally well. I can’t champion an author whose past performance doesn’t meet the expectations of the publishers with whom we’d be trying to collaborate. Doing so would benefit no one.

Queries from self-published authors are trending now in a sudden, stark shift. As a literary agent, I’m invisible and, nevertheless, a convenient bullseye. I understand how unfulfilled dreams can turn certain writers bitterly indignant. No one enjoys being judged when the standards are severely high. Fortunately, the ill-mannered are serendipitously counterbalanced by unrewarded yet still gracious writers who I know will continue reading, researching, practicing, experimenting, and improving in order to progress as far their talents and skills can take them on their chosen paths.

The more things change, the more they stay the same. As ever, regardless of how much variety they are offered, consumers gravitate en masse to read, discuss, recommend, and eagerly anticipate the screen adaptations of books written by a tiny fraction of a percentage of authors—the ones all authors would like to be and all agents would like to represent.

Book and target concept

An open letter to Charlotte H. F______ of Detroit

Dear Ms. F_____:

Your voicemail message for me arrived in the midst of a hurricane evacuation and storm forecast that has escalated to a hurricane warning for my coastal city and county, which is why I’m unable to return your call or answer the phone when you call again to discuss what seems to be your self-published poetry workbook or textbook. You did not provide your email address, and you don’t seem to have a discoverable online presence that would allow me to contact you via email, so I’ve resorted to a blogpost. Maybe this information also will be helpful to other writers in your situation.

Please understand that for nonfiction books, an established author platform is a nonnegotiable prerequisite for becoming one of my clients.

Please note the query guidelines on my website, which specify not to phone my agency but, instead, to send email containing all of the listed information that I would need in order to determine whether I might be able to work with you.

As it turns out, the information you’ve requested most likely can be found in one of my earlier posts, which I’ll list for you below. A great deal more information that might be helpful to you can be found on this blog. Enter the relevant keywords in the blog’s search box.

Literary agents for textbook authors

The demands of commercial authorhood today

How will readers ever find your book?

To writers who ask if I can interest traditional publishers in their self-published books

The posts linked above as well as the other information on this blog should send you in the right direction. If you feel you need to discuss your writing with someone, may I suggest you attend a reputable writers’ conference or a workshop on getting published that is led by a writer or literary agent you admire?

One of the best sources for information about getting your book published is Jane Friedman’s amazing blog.

Thank you for thinking of me. I wish you the best of luck with your previously published book or new manuscript and your search for the perfect agent to represent you.

Sincerely yours,

Robin Mizell


To all others who happen to read this post and wish to express well wishes or ask questions, please don’t be offended by my inability to respond to your comments this weekend. If all goes swimmingly, I’ll check the blog on Monday, October 10, 2016. Peace out.