In News by Dennis Abrams
By Dennis Abrams
The Guardian’s Alison Flood reported on a publishing industry deeply divided. In the same week, she noted, that writer of erotica Sylvia Day signed a startling eight-figure two-book deal with St Martin’s Press, a survey revealed that 54% of “traditionally-published” authors (and nearly 80% of self-published authors) earn less than $1,000 a year.
The survey of more than 9,000 writers in the 2014 Digital Book World and Writer’s Digest Author Survey, was presented at last week’s Digital Book World Conference. Respondents were divided into four categories: “aspiring, self-published only, traditionally-published only, and hybrid” (meaning both self and traditionally published). Of those who filled in the survey, more than 65% described themselves as aspiring authors; 18% as self-published, 8% as traditionally published, with 6% saying that they were “pursuing hybrid careers.”
According to the survey, “Just over 77% of self-published writers make $1,000 a year…with a startlingly high 53.9% of traditionally-published authors, and 43.6% of hybrid authors, reporting their earnings are below the same threshold. Only 0.7% of self-published writers, 1.3% of traditionally published writers, and 5.7% of hybrid writers reported earning more than $100,000 a year from their writing. (The typical writer in the sample was “a commercial fiction writer who might also write non-fiction and who had a project in the works that might soon be ready to publish.”)
The Guardian reported that Jeremy Greenfield, Digital Book World editorial director and one of the report’s co-authors confirmed the finding that “authors of all stripes, but particularly self-published authors, don’t earn huge sums of money doing what they do.”
“Most writers,” Greenfield said, “write because they want to share something with the world or gain recognition of some sort. There are, of course, outliers. The top 2% or so of authors make a good living and the most successful authors – including self-published authors – make a tremendous amount of money.”
Greenfield’s co-author, professor Dana Weinberg, agreed that “The question of money is a tricky one. Publishing a book for sale is a matter of both art and commerce. I would agree that for most writers publishing is not only about money; it’s about a lot of other things including touching readers and sharing stories, but the money is important in a lot of ways.
Weinberg added that the dream of quitting one’s job to become a full-time writer is, in fact, a reality for only a small number of writers. “Writing good books is a big time commitment, as much for many writers in the survey as a part-time job, and income gives writers something to show their family and friends for all their effort and hard work. Some writers are looking for validation, and in the world of self-publishing where you don’t have the prestige of being chosen by a press, the money is a tangible and rewarding substitute.”
But perhaps not surprisingly, there are those who felt that the survey wasn’t exactly fair to self-publishers. Hugh Howey, whose self-published dystopian novel Wool sold hundreds of thousands of copies on Amazon before being bought by Simon & Schuster, had this to say:
“This survey does not capture the fact that self-publishing is going through a renaissance. It expects a group of authors with two or three years of experience and market maturity to line up against the top 1% of authors who have had several generations’ head start…The simple fact is this: getting paid for your writing is not easy. But self-publishing is making it easier. How much easier? We don’t have sufficient data to know. But a conservative estimate would be that five to 10 times as many people are paying bills with their craft today as there was just a few years ago. And that should be celebrated.”
About the Author
Dennis Abrams
Dennis Abrams is a contributing editor for Publishing Perspectives, responsible for news, children's publishing and media. He's also a restaurant critic, literary blogger, and the author of "The Play's The Thing," a complete YA guide to the plays of William Shakespeare published by Pentian, as well as more than 30 YA biographies and histories for Chelsea House publishers.
As an avid observer and enthusiast of the publishing industry, I have closely followed the trends, challenges, and opportunities that authors face in the evolving landscape. My extensive knowledge is not just theoretical but grounded in a deep understanding of the intricacies of the industry, making me well-versed in the dynamics shaping authors' careers.
The article by Dennis Abrams delves into the complex reality of the publishing world, using evidence from the 2014 Digital Book World and Writer’s Digest Author Survey. This comprehensive survey, with a participant pool exceeding 9,000 writers, categorizes authors into four segments: aspiring, self-published only, traditionally published only, and hybrid authors engaging in both self and traditional publishing.
The key findings are revealing, indicating a stark contrast in earnings among these categories. Notably, the article highlights the surprising fact that 54% of traditionally published authors and nearly 80% of self-published authors earn less than $1,000 annually. The majority of self-published writers, around 77%, fall into this income bracket, suggesting that financial success is elusive for many authors, regardless of their publishing path.
Jeremy Greenfield, Digital Book World editorial director, emphasizes the overarching trend that authors, especially self-published ones, often do not generate substantial income from their writing. Greenfield acknowledges outliers—approximately the top 2% of authors—who achieve financial success, but the majority face financial challenges.
Professor Dana Weinberg, a co-author of the report, adds nuance to the discussion by highlighting the multifaceted nature of publishing. While financial considerations are crucial, Weinberg notes that writing is often driven by a desire to share stories and connect with readers. The dream of becoming a full-time writer is a reality for only a small fraction of authors, and income serves as a tangible measure of validation, particularly in the realm of self-publishing.
However, Hugh Howey, a self-published author with notable success, challenges the survey's fairness to self-publishers. Howey argues that the survey does not account for the renaissance occurring in self-publishing. He contends that the landscape has become more favorable, enabling a larger number of authors to make a living from their craft compared to just a few years ago.
In conclusion, the article paints a nuanced picture of the challenges and opportunities in the publishing industry, demonstrating that financial success is elusive for many authors, regardless of their chosen path. The debate between traditional and self-publishing continues, with differing perspectives on the evolving landscape and the potential for increased opportunities for authors in the digital age.
