The indy-author scene is not the only thing which has radically changed over the last decade; just the one that I know the best, though having the great good fortune to start as an indy author just when it was economically and technologically possible. It used to be that there were two means of being a published author. There was the traditional and most-respected way, through submission to a publishing house – which, if you were fortunate enough to catch the eye and favor of an editor, meant a contract and an advance, maybe a spot on the much-vaunted New York Times best-seller list. This was a method which – according to the old-timers – worked fairly well, up until a certain point. Some writers who have been around in the game for a long time say that when publishing houses began viewing books as commodities like cereal brands and ‘pushing’ certain brands with favored places on the aisles and endcaps, and treating authors as interchangeable widgets – that’s when the traditional model began to falter. Other experts say that it began when tax law changed to make it expensive to retain inventory in a warehouse. It was no longer profitable to maintain a goodly stock of mid-list authors with regular, if modest sales. Mainstream publishing shifted to pretty much the mindset of Hollywood movie producers, putting all their bets on a straight diet of blockbusters and nothing but blockbusters.

The other means of getting a book out there was what used to be called the “vanity press”, wherein someone with more literary ambition and money than sense and patience paid for a print run of their book, and usually wound up with a garage full of copies. Strictly speaking, this was not such a bad way to get a book in circulation, especially if it was an obscure topic, such as local history or an impatient, new author. Quite a few of the 19th century greats actually kick-started their writing careers by paying for a print run of their own works. My own Tiny Publishing Bidness was launched nearly forty years ago, and some of the local histories which we published, of interest to researchers in the field since they were mostly based on original research go for quite astounding sums on the rare book market.

Three elements have it possible to route around mainstream establishment publishing over the past decade and for independent authors to make a modest living from writing, or at least have a regular income stream. The first was the shift to digital printing from traditional lithographic press; once those big industrial presses begin rolling, there’s a thousand, ten thousand copies of a book printed in a matter of hours, and at a minimal per-item cost, but at a substantial overall expense for whoever was paying for the print run. Digital printing offered an alternative; a slightly higher per-unit cost but producing only as few copies as were required at a time. Almost at once, industrial printers began offering the digital option. New boutique publishers made their services available, for relatively modest sums: format the text to print specs, generate a nice cover, print only as many copies as required, and make the book available to distributors … like Amazon. Amazon’s development of an e-book reader, the Kindle (followed by other reader systems like Barnes & Noble’s Nook) was the third development which upended the traditional publishing industry, eliminating printing, storage and distribution costs in one go. (Although not editing, formatting and marketing expenses.) It doesn’t help that mainstream publishing, or what I’ve been calling “the literary-industrial complex” has been concentrating itself into fewer and larger houses, just about all of them international when they aren’t based in New York and throwing their energies into mass-marketing a diminishing stable of established authors, and through retail channels such as Barnes & Noble.

Curiously, this all has had the effect of leaving the field wide-open for independents like me, to small regional and specialist publishers – like the authors I spend three days with last week at the Word Wrangler Book Festival in Giddings, Texas. The book festival was started thirteen years ago, to benefit the public library in that town. Book submissions are juried by the committee – and the requirement is that the books have a Texas setting or interest. That’s pretty much it – although if they might be of interest to junior readers, that’s a bonus, as the Festival is the focus of school field trips on one of those days. Picture books, self-help, travel, gothic, romance, mystery, thriller, historical fiction – our books ran the whole gamut of interests. Just about every book on display was a quality production, the equal or better of anything produced by the publishing establishment. Indy authors have now been at it long enough to have developed considerable professional skills, either on their own or through networking with freelance talent, and professional organizations like the Texas Association of Authors. This is a paradigm shift that the mainstream publishing establishment wish would go away, if they even admit the existence of it, beyond some snotty remarks about the bad self-published stuff. (Of which there is quite a lot, admittedly. There is also an equal quantity of awful books published through the mainstream, although the copy-editing tends to be a little better.)

The towers of the Literary Industrial Complex are still standing, however cracked the foundations might be. One of the other writers at Word Wrangler has a lovely series of educational picture books. A couple of years ago, she explored the possibilities of the Texas-local HEB grocery chain stocking them, and regretfully decided against it. Accustomed to the good old ways of doing business with established big publishing, retail corporations like HEB have requirements for quantities, returnability, and pricing that simply can’t be met by indy authors and tiny regional publishers. Alan Bourgeois, who founded the Association, has been working with HEB and other companies to adjust their requirements. He has met with some success in this, although a recent meeting with the CEO of Barnes & Noble proved disappointing. The last big box book store chain still standing is still wedded to their old model, of preferring a policy of top-down management, rather than allowing local store managers latitude when it comes to hosting book events with local indy writers and prominently stocking indy-published books. The late lamented Borders and Hastings were much more receptive and responsive, generally. As a footnote and perhaps a harbinger of things to come; a French author, whose latest book was rejected by publishers, apparently because of the subject matter – went to publish it through Amazon … and that book subsequently won a national literary prize. But the French bookstores won’t stock it, because – Amazon has cooties, or something. When establishment publishers and bookstores reject authors whose books are embraced by readers, this does not portend well for doing business in the same old way. In any case, I believe there is not a better time than now for readers and for independent authors.