Published vs Self-Published: Which Path is Right for You?

𝗧𝗵𝗲 𝗧𝗵𝗿𝗲𝗲 𝗕𝗼𝗼𝗸 𝗣𝗮𝘁𝗵𝘀 I've published books through all three paths: academic press, traditional commercial publishers (multiple with Wiley), and self-publishing (most recent 7 projects). Here's what I've learned about each: 𝗔𝗰𝗮𝗱𝗲𝗺𝗶𝗰 𝗣𝗿𝗲𝘀𝘀 (𝘍𝘳𝘢𝘯𝘤𝘩𝘪𝘴𝘪𝘯𝘨 𝘋𝘳𝘦𝘢𝘮𝘴, University of Chicago Press): Complete manuscript required. Rigorous peer review and institutional credibility. Timelines run 18-24 months. Limited distribution and marketing. Royalties 10-15%. 𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗖𝗼𝗺𝗺𝗲𝗿𝗰𝗶𝗮𝗹 (Wiley): Agent required—no direct submission. Rigorous editorial review and professional distribution. Requires existing platform. You sacrifice control over cover, title, pricing, and IP. Royalties 10-15%. 𝗦𝗲𝗹𝗳-𝗣𝘂𝗯𝗹𝗶𝘀𝗵𝗶𝗻𝗴: Speed (4-6 months) and full creative control. You manage editorial and production by hiring editors, designers, and formatters. Unlimited distribution. Royalties 60-70%. The path you choose depends on what you value most: credibility (academic), distribution (traditional), or control (self-publishing). For business books serving professional audiences, self-publishing increasingly makes the most sense. You control timing, positioning, pricing, marketing, IP, and how the book serves your work. But the right choice depends on your specific goals. If institutional affiliation matters (academic positions, policy work), traditional paths still have value. There's no universal "best" path. Only the right path for your situation.

What does the submission process actually look like? Are publishers and literary agents really reviewing every manuscript they get? Well, yes and no. At least at Greenleaf Book Group, we do review every submission we receive. Realistically though, it’s not possible to read every single manuscript, so we have a multi-stage review process to decide which books we’ll dive deeper into. We start with a high-level review, where we flag the ones that are the most promising based on what we're looking for right now. My team then digs into those to write a detailed report for each of the top submissions of the week. At a weekly meeting, we pitch the book and the author to reps from every department to get their thoughts on how we could best position them for success in the marketplace. We tailor our proposals based on the needs of each project, so this feedback is vital to create a custom gameplan. If the team decides to move forward with a book, we then launch an editorial diagnosis for the proposal. At this time, one of our lead editors will read the manuscript in its entirety and provide detailed notes on what works and what changes would make the book stronger — essentially writing a prescription for the number of hours of each level of editorial work that will be needed. By the time authors meet with a publishing strategist and receive a proposal, every department has weighed in on exactly what they will provide to support the book’s creation and launch. This review process exists to ensure we’re only accepting books that we’re confident we have the resources and sales channels to set a book up for success. So, what makes a submission strong enough to get through to that deep review? And how the heck do some publishers get back to you with a decision the next day? I have a couple posts planned to address those questions in the next few days. If you have any other questions about the submission review process, comment below or DM me! BTW, submissions are open now if you’re ready to talk about publishing options for the book you’re working on. Link in comments.

Your manuscript is collecting digital dust. Here's exactly why and how to fix it today. After nearly a decade in book publishing, We have heard every reason why brilliant manuscripts never get published. But they all boil down to these 5 obstacles: 1. FEAR "What if it's not good enough?" "What if people judge me?" "What if it fails?" → Reality check: Every bestselling author published despite these fears. 2. PERFECTIONISM "Just one more edit..." "The timing isn't right..." "It needs to be perfect first..." → Truth bomb: Published imperfection beats unpublished perfection every single time. 3. LACK OF KNOWLEDGE "I don't know how ISBNs work" "What's the difference between editing and proofreading?" "How do I format for print vs. digital?" → Good news: You don't need to know. We do. 4. COST CONCERNS "Traditional publishing is impossible" "Professional services are too expensive" "I can't afford quality" → Game changer: Affordable, professional publishing exists (yes, really). 5. CONFUSION "Do I need an agent?" "Self-publish or traditional?" "Where do I even start?" → Solution: One team. One process. Zero confusion. Here's the thing: These obstacles are DESIGNED to keep you stuck. The publishing industry has made it deliberately complicated. But it doesn't have to be. At Prologue Book Publishing, we remove every single one of these barriers so you can focus on what matters your message reaching readers. Your move. Visit prologuebookpublishing.com Drop "PUBLISH" in the comments and we will personally reach out Let's eliminate what's stopping you Which of these 5 obstacles resonates most with you right now? Be honest.

THERE ARE TWO KINDS OF AUTHORS OUT THERE … MAKE IT THREE I may be a writer primarily, but I also run a bookstore. And have thus interacted with hundreds of authors since I set up Kunzum. I can thus say there are three kinds out there.   The first are the earnest lot. They are high on enthusiasm, irrespective of one title to their name or many. They really want others to buy and read their books. But meet with limited (commercial) success or recognition beyond their circle of influence. What are they lacking? The craft, as acceptable to the market. (I do not believe there are good or bad writers – every book is liked by some, not liked by some) What they need to do is go back to school (any form of learning, not necessarily formal education) and up the game.   The second lot are the vanity writers. They just want books to their name. They need it as a calling card, to get a sense of belonging amongst a certain segment, or just feel the high. They are willing to fund the production, give away free copies, invest in ads and paid content, and more. They don’t care to be judged, they are just happy to call themselves authors. Only a small percentage of them end up selling to significant numbers of genuine readers.   The third lot are the ones who feature in conversations, make news, win awards. They are those who are dedicated to their art, and seek to produce absolutely high quality work. They are driven by what they put out there; financial rewards and fame may be on their mind, but relegated to the back. Their works sell by tens of thousands and millions. The publishing industry’s bills are paid for by what they produce.   If you already are one, or aspiring to be, which of the above comes closest to the type of author you are or want to be?

Publishing industry case study: When gatekeepers get it wrong. Sarah spent two years writing a fantasy novel. She queried 30 literary agents. Every single one rejected her manuscript. "Not marketable." "Too niche." "Can't see the audience." She was discouraged. Nearly abandoned the project entirely. Then she explored self-publishing. We worked with her to publish on Amazon KDP. The results tell a different story than those rejection letters: Month 1: 47 sales (modest start)
Month 3: Amazon's recommendation algorithm engaged
Month 6: £2,400 monthly royalties
Month 12: £8,000 monthly
Month 18: £12,000 monthly (consistent) Current status: 100,000+ copies sold. Four bestselling books in her series. Full-time author income. Traditional publishers now approaching her with offers. This isn't an isolated success story. After publishing 10,000+ books across 47 countries, we've observed this pattern repeatedly: Traditional gatekeepers reject manuscripts that readers enthusiastically embrace. The difference? Direct market validation versus subjective editorial opinion. Our 87% bestseller success rate comes from letting readers decide, not gatekeepers. The publishing industry is experiencing a fundamental shift. Authors with quality content and strategic publishing approaches are building sustainable careers outside traditional models. If you've faced rejection, it may say more about the gatekeeping system than your work's market potential. #HMDPublishing #SelfPublishing #PublishingIndustry #AuthorSuccess #CareerTransition

In September, attended the People of Publishing Conference, a full day of talks hosted by the Association of American Literary Agents. It was an opportunity to see the publishing landscape from agents' vantage point and to connect with colleagues (and a few icons) I hadn’t seen in years! Some things I'm still thinking about: ✨ While books have outlasted as traditional media, platforms like Substack, Audible, and Kickstarter have added new ways for authors to reach readers, make deals, and create deep engagement that translates across formats. If you’re on your publishing journey, it’s a great time to start practicing in public! ✨ Data can be helpful to identify where readers and their interests reside. But just like readers, agents and editors operate on our tastes. How can we use data, not to chase the market, but to “confirm our hunches” about what ideas and authors stand tall at the juncture of what's out there, what's necessary, and what we love? ✨ Invisible labor, whew! Anyone with a passion can tell you about the extra (extra!) legwork that goes into bringing a vision, in this case an author's book that you believe in, to life. And agents and editors are touching more parts of the process now than in previous decades. The keys? Pursue projects that you can add your unique value to, remember that an entrepreneurial approach is where creativity lies, and set expectations around what an agent and editor's role is. ✨ Listen, as editors, we lose more books in auctions than we buy. Makes sense, who wouldn't want to work with the talented authors out there? This panel got me thinking about what communication looks like between agents and editors, and what my secret sauce is when showing enthusiasm for a project, advocating for it within my teams, and what the different auction structures can tell you about how to close a deal. Many thanks to all the thoughtful panelists, and the AALA for inviting us all up the beautiful Upper East Side.

CSIRO Publishing has announced the launch of its extensive content corpus on the Silverchair Platform. The new site, ConnectSci, brings together CSIRO Publishing’s ebook and journal content, and introduces a science news service, offering a comprehensive and seamless experience for users. https://lnkd.in/erRYvvci

The Publishing Trend That’s About to Make Traditional Publishers Panic We’re living through the biggest shift in publishing since the printing press — and most authors are missing it. Traditional publishing still runs on 2-year timelines, 10–15% royalties, and zero direct connection with readers. Meanwhile, smart authors are building audiences before they even finish writing. The publishing world is splitting in two — and you need to pick a side. Why Self-Publishing Has Already Won The old model—slow, gatekept, disconnected—is dead. Speed, ownership, and niche focus now win. 🚀 Speed beats perfection: Smart authors publish fast, while traditional houses release books long after trends shift. 💌 Direct relationships win: Authors with email lists of 10K+ engaged readers don’t wait for publisher budgets—they own their audience. 🎯 Niche beats broad: Success comes from dominating specific audiences, not writing generic “business books.” The 3 Smart Shifts: 1️⃣ From long to focused: Write short, high-impact books that solve one problem. 2️⃣ From hoping to owning: Build your list while you write. Launch to people who already want your book. 3️⃣ From competing to carving: Create a micro-niche and own it. You don’t need permission or a 2-year wait. You need clarity, focus, and the right strategy. At Smart Publishing, we help professionals publish authority-building books in 6 months. Share your idea → https://lnkd.in/gwybFVdP Which of these shifts surprises you most? 👇

Authors Face a New Challenge: Oversupply and Loss of Profitability in the Digital Publishing Market In a webinar hosted by the Authors Guild on November 5, writer Mike Castleman warned of a growing problem in the sector: an oversupply of published titles amid stagnant readership levels. According to the data presented, around 2.5 million books are released annually in the United States — roughly the same total number of titles published throughout the entire 20th century — while yearly sales remain stable between 900 million and 1.2 billion copies. Castleman, author of The Untold Story of Books: A Writer’s History of Book Publishing (2024), explained that the ease of digital self-publishing, combined with Amazon’s dominance in distribution, has stripped publishers of market control. This new ecosystem allows any author to publish globally for about $100, but it fragments revenues and makes visibility almost impossible to achieve. The author argues that the traditional industrial publishing model — based on publishers buying manuscripts and agents acting as intermediaries — is becoming unsustainable, replaced by a “post-industrial” logic in which writers once again pay to publish, much like in the early days of the printing press. Castleman advises authors to adopt hybrid models and work with consultants specializing in digital marketing. “Books are not in danger,” he concluded, “but authors’ ability to be read is.” #book #publishing #selfpublishing #bookmarket #AuthorsGuild #independentpublishing #Amazon #distribution #authors