My last post highlighted the biggest misconception I see about being a author these days. Feedback has included people asking perfectly reasonably and politely what I might have to say about the reality of being a writer in 2023. Fair enough. Here are some of the things that come up most often in conversations about this.
A lot depends on what you’re looking for as an author starting out these days. Do you have to pay the rent/mortgage/bills? Are you looking for a secondary income? Most authors start out part-time. A few go full-time later.
Authors supporting themselves through writing alone work extremely hard – and I mean flat out – at some combination of writing for multiple publishers, in multiple genres/media i.e. comics, film, TV, audio drama, computer games, franchise and tie-in work, ghost writing and more besides.
They often also write e.g. general or specialist non-fiction, newspaper features, articles for trade press and corporate in-house publications, advertising copy, greetings cards – anything that involves communicating with words basically. The list is endless.
Writing alongside a day job is absolutely valid. There’s a good chance your writing will be better for that lack of pressure. ‘Succeed or starve!’ is not a good motivator. Where access to healthcare depends on employment, you need a job. One day you will need a pension.
I know writers with just about every conceivable day job, including being house spouse/duty parent/carer. Writing around other responsibilities does not make your writing a hobby. Nor does having a supportive partner. Professional is a state of mind. It is not defined by earnings.
By all means submit to the big lists, but also look beyond the lure of the mass-market, global publisher deal. Find out about smaller presses publishing books like yours. Their deals may well offer better returns for the writer per copy sold and more regular payments, as well as more personal and committed working relationships. Initial publication with a reputable, professional small press is a well established and respected route to a deal with a big publisher. Writers can learn a lot and hone their skills. Look at recent literary and genre prize short lists and those authors’ subsequent careers.
Always do your research and never sign a contract without getting professional advice. Always remember if a deal looks too good to be true, then something somewhere is wrong. Beware of sharks and charlatans and just plain incompetence.
Print on demand and ebooks have changed the business models on backlist income and shorter form fiction. Digital audiobooks have changed that market. Digital-first publishing is another innovation. The pace of change is rapid, which is why you need to keep up to date.
Retain as many rights as you possibly can, grant rights for a defined number of years and make sure all rights have a clearly set-out reversion clause. If none of that means anything to you, or if contract negotiation really isn’t your thing, get professional advice. Talk to the Society of Authors or your local equivalent writers’ organisation. Contact some literary agents. Yes, having a agent will cost you, but having 75% of a decent chunk of change is better than getting 100% of a pittance.
By all means consider self-publishing, in this age of ebooks and print on demand. Be aware that success defined as making a living doing this means non-writing tasks will demand minimum 50% of your available time. Offering a quality product is crucial. You must pay for professional editing. Unless you have the skills, you’ll need to pay for layout, cover art, design. Discoverability is a massive hurdle. Marketing is hard.
In conclusion, bearing in mind I signed my first publishing contract is 1997? Write because you want to write. Write because you enjoy it. Write because other folk enjoy reading your stories, however long or short they may be. Write to make money on the terms that work for you personally. You don’t have to justify those choices to anyone. Good luck!