In Writer Unboxed’s month-long focus on the industry! the industry! Porter Anderson looks at a surprising (for many) message of author Hugh Howey’s career: this champion of self-publishing is also signing a new contract with Random House UK’s Century imprint for SAND as he did for the WOOL trilogy.
By Porter Anderson | @Porter_Anderson Writing on the Ether: Earning the Authors a Say Just When You Thought It Was Safe In Writing on the Ether at Jane Friedman.com, Porter Anderson looks at the second report — an analysis of sales rankings on some 54,000 Amazon ebook titles — from Hugh Howey’s new AuthorEarnings.com initiative. Read the […]
By Porter Anderson | @Porter_Anderson Issues on the Ether: Do Hugh Howey’s AuthorEarnings Add Up? Do Hugh Howey’s AuthorEarnings Add Up? In Publishing Perspectives’ Issues on the Ehter, Porter Anderson preps an #EtherIssue live debate on Hugh Howey’s new AuthorEarnings.com initiative. Read the full post: PublishingPerspectives.com Google+ Join our Headliners at BEA’s uPublishU AUTHOR HUB Meet […]
Howey’s new Author Earnings report (with more than 150 comments so far) went live at about 1 p.m. ET Tuesday and was quickly and admiringly classified as a “bombshell” by the longtime independence-warrior Barry Eisler. Another deeply pedigreed hair-tearer in the cause, Joe Konrath, picked up the large report and posted it for his avid readers to help out when Howey’s new AuthorEarnings.com site was crashed by eager newcomers. They stepped right up, the leadership did. Notice that?
As Laura Miller at Salon opens her own reflection on this, “Is the Literary World Elitist?”, she rightly explains that Eleanor Catton—responding to an instance of reader indignation at writer’s use of a 50-cents word—”treats the reader’s ire as a symptom of the creeping consumerist attitude in our response to literature.”
What if we’re moving from what one revered observer calls an effort to transcend the idea of two classes of authors — to what another highly respected commentator says is a three–class system?
Despite our inability to measure the true breadth of self-publishing—as long as the key metric, the ISBN, depends on authors to pay much more for their identifiers than the industry does—we know that self-publishing is growing. What comes across as a more volatile debate, in some ways, is the question being asked among some authors themselves about their goals. Why are self-publishers self-publishing? Seems a crazy question, doesn’t it? But maybe not.