Publishing has experienced extraordinary change over the last 35 years. I began writing as a journalist, first for newspapers, then for magazines, both on-staff and freelance. I wrote about sports, about politics and politicians, about laws made and broken, about things that affected people’s lives, but the writing was journalistic and strictly a vehicle for information, information that was readily available via other vehicles. So I turned to writing fiction and poetry, writing that enabled me to communicate more than bare facts, writing that allowed me to explore reality through fantasy, truth through lies. The most difficult obstacle, however, wasn’t developing a style or voice. It was finding a publisher.
Back then, self-publication wasn’t an option, at least for me. It suggested the writer’s work wasn’t good enough to be published by a legitimate publisher, which meant it wasn’t good enough to be published at all. Self-publishing required an extra helping of self-confidence and a solid bank account because publishing wasn’t cheap. Self-published writers were suspected of being well-off egotists, satisfying their vanity by buying a byline. It’s not quite the same now. Thanks to a conservative traditional publishing industry and significant advances in publishing technology, the stigma once associated with independent publishing has vanished
Traditional publishers always have been somewhat conservative in the projects they take on, limiting risks because getting a book to market requires substantial investment. As large publishers gobbled up smaller publishers, decreasing diversity and competition, they became even more hesitant to take on new authors and new ideas, resulting in today’s homogenized market of copycat copycatting. Occasionally, however, something new breaks through. J.K. Rowling’s Harry Potter series and James Loewen’s Lies My Teacher Told Me come to mind, both starting out at small publishers where their works proved successful enough to entice major publisher backing, backing that set about exploiting every possibility that could be connected to the works. Success stories like theirs, however, are the exception rather than the norm.
Despite random breakthroughs, traditional publishers have systematically narrowed offerings into predefined marketing niches, limiting diversity and denying opportunity to authors whose work penetrates the boundaries. And the writers who do sign with conventional publishers find themselves saddled with increasing responsibilities once the publishers’ sole domain—promotion, design, production aspects, and more. In short, publishers once took care of business, and writers took care of writing. No longer. Writers today progressively are burdened with the bulk of pre- and post-publication tasks while receiving a shrinking percentage of their book’s net earnings.
Enter technology and the path to accessible independent publishing, enabling writers and artists to get their work to audiences affordably and without the assistance of conventional publishers. Technology upended the music industry in the 1990s, and now it’s doing the same to the publishing industry. Unbridled access, however, enables both the talented and talentless to publish easily. For conscientious writers, for professionals, some basics of traditional publishing must be retained and maintained. That’s where writers’ cooperatives come in.
Frustrated after thirty-one years of writing professionally for traditional publishers, I’ve joined with other writers, musicians, and artists around the world to form Cooperative Ink, a collective of creative individuals with decades of experience in traditional publishing who have decided to seek broader audiences for their work through independent publishing. Professional artistic cooperatives offer no haven for the vanity author. Instead, a cooperative’s strength is built upon creative people assisting creative people, from basic editing to book layout and publishing, from drafting news releases and development of conventional promotional avenues to managing social networking and personal appearances—all with the goal of providing a diverse variety of high-quality, professional literature, music, and other entertainment to audiences bored with the umpteenth version of the latest copycat darling.
A place will always exist for traditional publishing and those within who make their living off the work of writers—editors, marketing personnel, agents, etc. But technology now affords worthy writers once shunned by an industry insisting on conformity the chance to take their work economically and professionally to the public. Both writers and readers are far better off for it.
Please visit the Cooperative Ink website at http://www.cooperativeink.com as members release new work they’ve enjoyed creating, work they hope you will enjoy experiencing.