diy publishing in books and music

Eric R. Danton over at The Hartford Courant recently published an opinion piece about the rise of DIY publishing in the literary world that’s worth a scan if not a full on “read.” As proof of the viability of self publishing he spends a lot of time making parallels with the music industry, which makes sense when you google “Eric Danton” and realize he’s the on-staff “rock critic” for The Courant. Mr. Athitakis’s response on his blog was much more interesting. A snatch:

This is where Danton’s story starts to fail me. His equation of DIY music with DIY publishing fails to acknowledge the culture of discussion, argument, documentation—and, yes, gatekeeping and tastemaking—that’s still installed in DIY music, and doesn’t provide a convincing parallel for DIY publishing. Who’s replaced POD-dy Mouth? Where’s the culture of readers engaged with POD novels in the same way as Pitchfork? Or even the collaborative group of, say, young fantasy writers who’ve built a small cult around themselves by branding the novels they self-publish? Instead, the story’s chief example is Joel Fried, who’s sold a thousand or so copies of his book of essays, Bursts, through BookSurge. How this proves that self-publishing has obliterated its amateur-hour stigma escapes me. If anything, Stewart O’Nan comes off as the most convincing voice in the article, arguing for the old-fashioned publisher: He tells the Courant, “I want to get my book between covers and onto the shelves of as many good bookstores and good libraries as I can, hoping that in time maybe that will translate into it being on the shelves of lots of good readers, and I find the big houses give you the best shot at that.”

He goes on, and if you’re interested you should hop on over and read the whole article. I was going to copy and paste more, but Mark started talking about other things and when I was done editing, I was left with a messy string of ellipses and unconnected phrases, and then this conclusion: “If indie rock is any sort of a model for DIY publishing, it’s not merely in self-publishing—it’s in smart self-publishing strategies that think of the audience before the book.” Yes.

I’ve thought and wrote about this topic for awhile now and though there isn’t really anything new in either of these articles, it’s always egotistically gratifying to find your ideas in the mouth of someone else, especially when that someone else is Mark Athitakis. What literary culture needs is MORE tastemakers and MORE gatekeepers — and therefore more opportunities for readers and writers alike. Get two it, Internet.

Speaking of, in case anyone is interested I’m still developing my concept for a Pitchfork-esque book review website/community hub for literary fiction (plus the occasional/ironic one-off genre review). If you are interested in donating ideas or (more importantly) investment capital, please get in contact with me.

whataworld

I had a long, long day today, and didn’t have the energy to finish the long entry I’ve been working on. I’ll post it next week. So instead of doing a post of my own today, I’m going to share something I found on the internet. Warning: it’s one of those things that makes you look up from your macbook at the local coffee shop and study the other patrons: I wonder how many of them know the definition of frugal?

look i wrote my own bloated essay about novels

Writers love big essays about novels by novelists. Or at least I do, and the more theoretically bloated and complex and ego driven they are, the better. Lee Siegel published a piece in the New York Observer a few months ago, and though it was pretty straightforward — major themes: things aren’t like they used to be in the world of letters, and this is bad; we need more authors like we used to have; non-fiction is where all the talented kids are nowadays; the novel is dead (for now) — the brouhaha it caused was much more exciting.

In my mind Siegel’s “Mailer” article should take it’s place in the long string of essays written about the state of the novel (Some of my favorites include: Tom Wolfe, Lev Grossman, Johnathan Franzen, David Foster Wallace, Zadie Smith, B.R. Meyers, and James Wood.), even though I find it a little lacking in the substance department. Most essays of this type strive to become part of an ongoing conversation between creators about what they’re creating, about what the novel as an artistic form should be and do. And I know I’m not the only one to say it, but Siegal comes off a little like an old man complaining on his front porch. “Kids today,” he thinks. “Harrumph.”

Perhaps the problem for me about Siegel is that he’s too focussed on the past. He’s looking at American Letters as it has been and then insisting that’s how it should be, and he’s far from the only one. Authors, editors, agents, publishers — the majority of the American literati seems to be in denial about the fact that currently our culture is undergoing a great and rapid change at a very deep structural level — and it’s all technology’s fault. The depth and breadth of this denial reminds me very much of the music and film industries from the late 90s and early 2000s, and when it’s all said and done, it’s going to be just as catastrophic.

The reason? With the advent of internet technologies we no longer need big publishing houses to take on the risk of finding and developing new talent and covering the cost of printing books. I hate to admit, but for the majority of people on this planet electronic books will become the means by which they consume literature. It’s inevitable when the cost of reproduction becomes zero, ad infinitum. I don’t think it’s going to happen overnight, and I don’t think physical books will ever go away, but the book as a technology is now outdated. In a few generations it will seem just as antiquated and nostalgic as vinyl records or classic cars.

So what does this mean for the author? I think the time of Super Writers and Great American Novels is over. Our culture is simply too fractured and heterogeneous for one product or voice to appeal to us enmasse, and we have our parents and technology to thank for it. Individuality is the name of the game, and for the consumer in our society, individuality is defined through choice. Down with monobeer and hooray for craft breweries! “Boo!” on formulaic, big budget summer blockbusters and “yay!” for independent films with story and character! Kill radio and long live Indie music! Sure people still drink Coors and watch MTV, but not like they used to. This is a big country we live in, and to get something to appeal to all those people and disparate interests  it usually ends up watered down or generic or formulaic. Art becomes an industry, a business, and innovation and risk or anything new stops making sense because it’s bad business.

This is ultimately what I think is wrong with American Literature. Books aren’t losing popularity, it’s that the wrong kinds of books are no longer popular — but “wrong” only according to the various tastemakers. The audience for literary fiction has continued to shrink, and in an attempt to appeal to more a larger audience authors have become generic and formulaic, the flavor equivalent of taking out all the hops.

I hear and read so many authors and critics bemoaning an end to the Golden Age of letters, and that’s wrong. If anything I think we’re on the cusp of a Golden Age, only it’s going to be different than anything people could have imagined. Again, look at the music industry. Thanks to the internet artists can write, record and distribute all their music on their own — they don’t need the giant publishing houses. New business models are being invented, and musicians are making a living doing what they want to do: play music. On the flip side, people can now find and listen to music that specifically caters to their own personal taste. Bands don’t need hundreds of thousands of fans to support them (and  in turn the giant publishing machine that controlled the bottleneck of distribution) and people aren’t limited to listening to music that caters to the least common denominator.

So what does this mean for the novelist? Writers should take a page about of the musicians playbook: get online, connect with people, give some stuff away for free and sell the rest. You may not have as many readers as you would have had, but you don’t need them — there’s a lot more room at the table, now. Self-publishing is no longer anathematic, and in time I see it becoming prerequisite to any sort of publishing deal. It’s important to remember that publishers aren’t going to go away, they’re just going to get smaller and there will be a lot more of them catering to all different kinds of tastes and interests.

In the end authors will still be writing, publishers will still be distributing, and people will still be reading, and that’s what’s important.