The Real Value of the "Getting Published" Process

A year or so ago I attended a writer’s conference in New York. I had looked forward to it for a few months and gone through the seminar schedule several times to make the most of my one day there, being careful not to miss the most interesting speakers.  The hotel was wall-to-wall writers, every one excited about the day, and for some the entire weekend. As I checked in, sat through the short orientation, and engaged some of the other attendees, I soon realized that few, if any of them, had ever been published, and fewer yet had any idea of how to go about getting published. They were there at the conference to work the process out in their heads.

The vast majority of the writers worked in fiction – historical, science, romance, horror, mystery, short stories, and novels.  I enjoyed hearing how other writers had chosen their specialties and how they had developed their characters and plot lines. As a nonfiction writer I was definitely in the minority, but I had anticipated as much from the catalogue of speakers and topics. Everyone chatted about their aspirations, but no one showed all their cards; there was certainly a sense of camaraderie, but we were also competitors. I came out, unintentionally, as the battle-scarred veteran with a book contract and publication date, even with the nonfiction tag.

During the lunch break, when I broached the subject of submissions and collections of rejection letters, faces around the table went blank. I sensed no one in my lunch group had ever submitted a manuscript.

 I also surprisingly heard several presenters, including the keynote speaker, discuss how simple, and uncomplicated a matter it was to get published.  This paradigm in no way matched my book or magazine writing experiences, but I was eager to hear of a different paradigm. And shortly out came the secret: self-publishing.

The myth of self-publishing is that it allows writers to see their words, ideas, and characters in print without facing the selective judgment of acquisition editors or the cruel strokes of the copyeditor. The myth of self-publishing also preaches the gospel of absolute control of authors over their words, content, copyright, format, marketing, and sales. The myth doesn’t have much to say about what is lost in by-passing the revision process, incurred costs, advertising campaigns, distribution, reviews, exposure to the know-how of experienced editors, and the fact that few booksellers, especially the chain stores, show little or no interest in self-published works.

One of the most irritating aspects of the self-publishing world is an examination of who promulgates the myth. The conference I spoke of was promoted and organized by Writer’s Digest, publisher of the magazine of the same name and a series of how-to writers’ guides. The same magazine advertises products and supplies without which writers cannot create or exist: coffee mugs, T-shirts, and baseball caps, all emblazoned with the label, “Writer.” The recent addition to Writer’s Digest’s catalogue of goodies is their entry into the world of self-publishing. Aside from the numerous revenue-producing ads inviting authors to publish their own creations, the magazine now offers its own book publishing services to writers. The process offers consulting, publishing, editing, and other services, all with fees attached. And conveniently, the number of articles in the magazine espousing the values and advantages of self-publishing over traditional publishing has markedly increased.

Writers put their efforts, thoughts, and hearts into their evolving manuscripts. In that pouring out of personal visions, promoting the idea that a mug or shirt will make better, more successful writer or will let others know they are writers, puts a smile on everyone’s face, writers included. No harm done. But when vulnerable writers are encouraged by a self-publishing company, which they otherwise consider a reliable source, to self-publish, one has to re-evaluate the integrity of the source.

Self-serving conflicts of interest must always be suspect. But the misrepresentation of self-publishing as a viable alternative to traditional publishing with comparable success, intentionally leads novice writers astray, diminishes their real chances of success, and ruins the priceless learning models discovered through re-writing and revision, probably the real value of the “getting published” process.