I never even considered trying to find a real publisher. We live in the age of the Internet, where anyone can publish anything they want for the cost of a server, so that's what I did. (I got a dedicated machine from ARP networks. It kicks butt).
People don't seem to know what to make of this. You just put your novel on a website? You"re not on Amazon or Kindle? You don't have an ISBN? I once asked for promotion advice on a Reddit sub dedicated to self-publishing -- I got crickets.
I second the comment of a nice breakdown here. I became aware of you from your interview with Contarini, who had read your book (and currently reading mine!), and was impressed with the exchange.
Substack seems to be the great engine, or body of water, if you'd like, that can be the supply for many different rivers and streams for self-publishing down the line. Because of Amazo's practices, I went to Lulu, essentially as the printer, and sell my novel (and my other books) directly from my website. I fear I have shot myself in the foot foregoing Amazo, but I am sticking to my guns so far. I felt the need to create a "reader review hub" on my own SS page, in lieu of Amazo's automatic review and Goodreads page.
I wanted the experience of reading my book to be as independent feeling as possible. But that does not mean one has to have a book cover that looks like it....as you mentioned briefly up top.
I am also excited about Muka's book (Hell or Hangover), Atkinson's book (Help Me I am In Hell), as well as Anthony Marigold's Non Grata Mag, and The Wayback Machine by Falatko I will get to as well. With independence, there can also be community. Substack has helped that immensely.
The main reason I’ve stayed pseudonymous is so coworkers don’t bother me with questions about comedy or my writing. It probably would be better for me to fully facedox and link my personal socials, I just don’t feel like dealing with the coffee machine conversations.
So interesting how we worry a pen name or semi-anonymous approach to fiction might be career-limiting or otherwise impact “authenticity” but at the top of the heap commercial authors can slap their name on ghostwritten content all day. Personally I think pen names are cool as shit and a no brainer. An elegant solution to reduced circumstances and opportunity. Why would you want your entire life tied to everything you write, especially when it has never been clearer that there are some things we aren’t allowed to write about — at least not without considering the feelings of murderous regimes. You called it and I believe it: the future of literary fiction is anonymous.
Entirely true from the perspective of self-preservation as the highest value. Not true from the perspective of "interesting, admirable, and heartful crash-outs", i.e. producing secular saints whose behavior future folks can more easily imitate. I'm not one to advocate that anyone else blow their life up—but I also admire those who do for the sake of telling the truth. And that admiration rises proportionally to the risk involved.
Dope article. Feels to me the model is get big first then when the banhammer drops go where you need to. Countless people who got big on Youtube then when they got wrecked transferred to Rumble. I don't think there's been that many (or any) success stories the other way around.
I never even considered trying to find a real publisher. We live in the age of the Internet, where anyone can publish anything they want for the cost of a server, so that's what I did. (I got a dedicated machine from ARP networks. It kicks butt).
People don't seem to know what to make of this. You just put your novel on a website? You"re not on Amazon or Kindle? You don't have an ISBN? I once asked for promotion advice on a Reddit sub dedicated to self-publishing -- I got crickets.
This is a practical overview of the risks, rewards, and realities here. Thanks for articulating it all so concisely.
I second the comment of a nice breakdown here. I became aware of you from your interview with Contarini, who had read your book (and currently reading mine!), and was impressed with the exchange.
Substack seems to be the great engine, or body of water, if you'd like, that can be the supply for many different rivers and streams for self-publishing down the line. Because of Amazo's practices, I went to Lulu, essentially as the printer, and sell my novel (and my other books) directly from my website. I fear I have shot myself in the foot foregoing Amazo, but I am sticking to my guns so far. I felt the need to create a "reader review hub" on my own SS page, in lieu of Amazo's automatic review and Goodreads page.
I wanted the experience of reading my book to be as independent feeling as possible. But that does not mean one has to have a book cover that looks like it....as you mentioned briefly up top.
I am also excited about Muka's book (Hell or Hangover), Atkinson's book (Help Me I am In Hell), as well as Anthony Marigold's Non Grata Mag, and The Wayback Machine by Falatko I will get to as well. With independence, there can also be community. Substack has helped that immensely.
The main reason I’ve stayed pseudonymous is so coworkers don’t bother me with questions about comedy or my writing. It probably would be better for me to fully facedox and link my personal socials, I just don’t feel like dealing with the coffee machine conversations.
So interesting how we worry a pen name or semi-anonymous approach to fiction might be career-limiting or otherwise impact “authenticity” but at the top of the heap commercial authors can slap their name on ghostwritten content all day. Personally I think pen names are cool as shit and a no brainer. An elegant solution to reduced circumstances and opportunity. Why would you want your entire life tied to everything you write, especially when it has never been clearer that there are some things we aren’t allowed to write about — at least not without considering the feelings of murderous regimes. You called it and I believe it: the future of literary fiction is anonymous.
Entirely true from the perspective of self-preservation as the highest value. Not true from the perspective of "interesting, admirable, and heartful crash-outs", i.e. producing secular saints whose behavior future folks can more easily imitate. I'm not one to advocate that anyone else blow their life up—but I also admire those who do for the sake of telling the truth. And that admiration rises proportionally to the risk involved.
A beautiful point articulated well.
Fascinating stuff!
Dope article. Feels to me the model is get big first then when the banhammer drops go where you need to. Countless people who got big on Youtube then when they got wrecked transferred to Rumble. I don't think there's been that many (or any) success stories the other way around.
I wish nostr was used by more than just twitterjack talking to himself. It's a cool idea.