Small Presses, Are They Worth Considering?
(We might be a bit biased, but the Answer is Yes)
Written by Kate Gough
The dream of many writers is to be published by one of the Big 5 publishers, such as Penguin Random House and Harper Collins. But the world of publishing is much richer and vaster than the big, billion-dollar publishing houses. Many small presses operate outside the elite bubble, pulling far less than ten figures a year. However, through curating a unique brand identity, they foster a loyal audience among authors and readers alike. Indie darlings, with their sophisticated and imaginative books, are suited for the coveted coffee table displays, unlike the top 20 books you can find in airport book stands.
Small press releases aren’t always hipster bait. These scrappy publishers have also delivered some of the most glamorous, Hollywood booming, New York Times bestselling hits over the years. Examples include Miss Peregrine’s Home for Peculiar Children by Ransom Riggs, which was adapted and given the full gothic Tim Burton treatment. Others include Pride and Prejudice and Zombies, a B film horror meets classic literature mash-up, which was also made into a film starring Lilly James.
Now, what exactly is an indie press? What can you expect when working with one? What are the pros and cons of working with an Indie Press over a Big 5 publisher?
An indie press is a publisher making less than $50 million annually, compared to a staggering $3.3 billion earned by big publishers such as Penguin Random House each year. There is also a distinction between small presses and micro-presses, which put out a few books a year, at minuscule print runs (for example 20 or so copies of a single chapbook).
Some brands are actually children of parent companies, such as Macmillan’s sci-fi focused Tor Books. These presses may have minimal oversight from corporate, though are still owned by larger corporations.
What is Small Press Distribution?
If you are interested in small press publishing, Small Press Distribution (or SPD) may sound familiar. This non-profit is an umbrella distributor that lightens the load for over 400 North American small publishing houses, by pitching the books to retailers. SPD helps distribute the titles from lesser-known publishers into bookshops. By taking over distribution, SPD allows the presses to spend more time and resources on the publishing process. Though the majority of their stock goes to wholesalers, SPD also sells to libraries, college bookshops, and to consumers.
What are the pros and cons of working with an Indie Press?
Indie presses operate on a minute scale compared to the billion-dollar Big 5 companies, however much like the bigger presses, they buy manuscripts, aid in editing, production, and distributing, and pay out royalties to authors (sometimes in addition to a modest advance).
Pros of working with a small press:
They’re more likely to take on unrepresented authors. You may think you need a literary agent to be traditionally published. Typically, big 5 publishers won’t look at a manuscript if it hasn’t been vetted by an agent. Small presses, however, often consider unsolicited submissions, typically through their own talent contests in which they scout out new talent. Small presses are a good option if you don’t want to find representation just to see your name in print. You can let your work speak for itself.
They’re more likely to take on risky and experimental books. Small presses are willing to take risks, as they don’t have as much commercial red tape, or broad demographics to cater to. The niche-er the better when it comes to indie presses, and whether that’s a memoir by a first time author with no name recognition, or a gentle poetry book that muses on the nature of identity. Some indie presses even take pride in their brand’s unique and avant-garde work that more mainstream presses typically turn down.
You will have input throughout the process. Small presses are more likely to give the author a voice throughout the process, from the cover art, to the typesetting. You’ll also typically have more direct contact with your editor.
Cons of working with a small press:
Your advance will be tiny (or non-existent). Many small publishers cannot afford to give out advances, unlike bigger presses. If you get an advance at all, it may only be $1000-2000. However, small presses give out higher royalties to make up for paying you little to none upfront. But this arrangement makes it impossible to live off a generous advance and devote your time to writing the next book.
Your book won’t be marketed with glitz and glam. Small publishers rarely have the budget to market your book aggressively, so it will fall on your shoulders to cultivate a platform and get your name out there. You may need to call up local bookshops in order to sell them in person. You may need to start an Instagram to drum up a brand name.
It’s rare to vet an indie press. Small publishers are a little harder to vet than their mega-corporate counterparts. They vary widely in quality and name recognition, some putting out Pulitzer nominees, and others pushing scams. A quick google search will let you know which publishers to avoid, however, small presses may not even be included on the list.
To conclude, working with an indie press can be an intimate and fulfilling way to share your art with the world, as long as you are willing to promote yourself, and are not discouraged when it doesn’t reach as many people as you’d have liked. As an artist, you must keep writing, keep making, keep thinking, and keep feeling, until something sparks a flame that can’t go out.
Good luck, and remember that your voice is your own. Use it.
KATE GOUGH is a Canadian based poet and a member of the online poetry community. Her work modernizes romantic literary sensibilities and explores recovery from chronic illness and trauma. Her philosophy is one close to the Danish “Hygge” which is, the celebration of cosiness. Warm socks, hot tea, and candlelight are her favourite writing tools.