E-Publishing FAQ

by Moira Allen

When I wrote the first edition of Writing.com in 1998, part of the task of the chapter on e-publishing was to answer the question, "What is an e-book?" Today, there are probably very few people who haven't at least heard of e-books. However, the question facing authors today hasn't changed: "Is e-publishing a viable alternative to print publishing?" Or, more specifically, "Should I publish my book electronically?" In 1998, the answer was "it depends." Today, the answer is still "it depends".

E-publishing Formats and Options

The generic term "e-publishing" covers a variety of publishing models and formats. E-books include downloadable books that can be transferred to your computer, a PDA (such as a Palm) or a handheld e-book reader; books on disk or CD-ROM; and books that are printed out in "print-on-demand" format. Some publishers offer e-books in a wide range of programs, including Adobe PDF and HTML, and formats tailored for handheld devices. (Some also offer books in Word or .exe files, but these formats are less popular.)

E-publishing models include commercial electronic publishers, subsidy publishers (which includes most print-on-demand publishers), "distributors", and self-publishers.

Commercial E-publishing

Commercial e-publishers operate much like commercial print publishers, accepting books on the basis of quality and marketability. While authors do not receive an advance, they do receive royalties (often as high as 40 percent), and do not pay anything toward the cost of producing the book. Most commercial publishers provide the same process of review, editing and proofreading before publication as a print publisher. Most also accept fewer than 10 percent of submissions.

Commercial e-publishers typically sell their books through their own Web site, as well as through Amazon.com, Barnes and Noble, and other electronic bookstores. Some also produce editions for hand-held e-readers and other handheld formats (such as the Palm). Some offer both electronic downloads and disks or CD-ROMs, and some also offer print-on-demand services. Most provide such service as obtaining ISBN numbers, copyright registration, and (sometimes) a Library of Congress listing. While it is generally possible to order a commercially published e-book by ISBN through a bookstore, most bookstores do not actually carry them on the shelves.

Subsidy E-publishing and Print-on-Demand

Subsidy e-publishers, like their print counterparts, produce and distribute books for a fee (generally ranging from $200 to $500 per book). Authors receive a royalty, which is usually comparable to that offered by commercial e-publishers (around 40 percent). Most subsidy publishers will accept any book, regardless of quality, except for pornography or hate material. Books are not edited or proofread, but published "as is." Many subsidy publishers have a range of "extra" charges -- such as charges for formatting the book if the author has not done so, charges for illustrations, for cover designs, for editing, for an ISBN or copyright registration, etc. These charges can add up quickly. Subsidy publishers provide no promotion, and may offer a lower royalty rate for books that are not sold directly from the publisher's Web site (e.g., if they are sold through Amazon.com or another online bookstore). Xlibris, for example, offers 50 percent royalties for e-books sold from its Web site, but only 25 percent for e-books sold through other sites.

Another form of subsidy publishing that is becoming increasingly popular is "print-on-demand" (POD) publishing. This is considered a form of "electronic" (or "digital") publishing in that a book is submitted to the publisher electronically, and is stored as an electronic file, to be printed out in "book format" only when it is actually ordered by the customer. Many publishers offer both electronic and print-on-demand editions of the same book. While a handful of commercial publishers offer both print-on-demand and electronic editions, most POD publishers (including iUniverse and Xlibris) are subsidy publishers. Prices for POD publishing range from $200 to $1000 or more.

[UPDATE: Lulu.com is the outstanding exception to subsidy POD publishing. The author pays no up-front fee; to order one's own book, one pays only for the cost of printing (around $4 plus 2¢ per page for black and white or 15¢ per page for color printing). Lulu charges a small commission on every copy of your book that is sold.]

No-fee "Distributors"

A type of electronic publisher that is difficult to categorize is the "publisher" who accepts electronic manuscripts "as is," usually already formatted by the author, and provides a "bookstore" where those books can be purchased. Generally, such a distributor charges no fee to the author, but takes a percentage of royalties (usually around 25 to 30 percent). A distributor generally does not get involved in editing, designing or producing the book, and the author can usually set the price (though the distributor may have a minimum price limit). Some distributors, like Booklocker.com, are highly selective about what books they will offer for sale; others will accept most manuscripts. This type of e-publisher/bookseller provides an excellent alternative for the author who is primarily self-published, but doesn't wish to go to the hassle of setting up his or her own online "bookstore," accept credit cards, fulfill orders, etc. This also enables a self-published author to avoid registering as a retail business, as the author receives royalties from the distributor rather than direct sales from customers.

Electronic Self-publishing

Many authors choose to electronically self-publish their books. This offers an excellent, inexpensive alternative to print self-publishing -- for the obvious reason that one does not incur the cost (which usually runs to several thousand dollars) of getting one's book printed. Marketing costs are usually lower as well, as a self-published e-author generally does the majority of marketing via the Web. Distribution costs are minimal (if the book is offered as a disk or CD-ROM) or nonexistent (if it is offered as a download). In addition, if one offers only downloads, rather than providing a "tangible" product such as a diskette or CD-ROM, one may be able to avoid the need to establish oneself as a "publisher" and a "retail business" (for which a business license is needed).

Most self-published e-authors publish in PDF or HTML format. Self-published e-authors are also eligible to participate in Amazon.com's "Advantage" program; however, they must be able to provide a disk version of the book, with an ISBN.

It's important to be aware that many subsidy publishers attempt to promote their services as a form of "self-publishing." There is, however, a profound difference between subsidy publishing and self-publishing. The primary difference is in ownership. A self-publisher owns ALL rights to his or her book; no rights are licensed to another publisher. A subsidy publisher, however, receives a license of rights just like a commercial publisher. Another key difference is revenue -- the self-publisher receives 100 percent of book sale revenues, while the subsidy-published author receives only a percentage of those revenues in the form of royalties. The self-publisher also retains complete control over the book -- its cover, its design, its marketing process, its price and discounts -- while the subsidy-published author may not have any say over these matters.

Advantages of E-Publishing

Commercial e-publishers and authors cite several advantages to this form of publishing:

• Better chances of acceptance. "E-publishing is opening the doors for a lot of new authors," says Mary Wolf of Hard Shell Word Factory (HSWF). "It is also a home for those great stories that fall between the cracks with New York publishers for various reasons: don't fit the length requirements; wrong type of hero/heroine; wrong career, era, or setting; etc. We are free to push the envelope, resulting in fresh new voices. . . At the same time, stories still need to be well-written!" Karen Wiesner, author of Restless as Rain, Leather and Lace, and Falling Star (HSWF) and Electronic Publishing: The Definitive Guide {The Most Complete Reference to Non-Subsidy E-publishing} (AVID PRESS) says, "I can sell things to e-publishers that I could never sell to mass market publishers. Since I'm gaining a strong fan following, this is a definitely something I consider important." At the same time, she noted in her E-Publisher Acceptance Rates survey that many e-publishers accept less than 10 percent of all submissions, which means that 90 percent or more of would-be e-authors are being rejected.
  
  
• More opportunities for first-time/unknown authors, or authors of "unusual" books. Arline Chase of Ebooksonthe.Net points out that "For writers whose stories don't fit the mold, e-publishing can be a way to find and audience and good reviews. As an instructor at Writer's Digest School for the past five years, I can tell you that there are many good writers with stories that don't fit the 'high concept' mold sought by print publishers today. There used to be about 75 to 100 print publishing companies, owned by people whose tastes and criteria were varied. Most of those imprints are now owned by five major media corporations. It used to be that if an editor liked a book he or she could contract for it. Now titles are chosen by committee who consider content lest important than demographics of the customer base. The major publishers want books that will SELL. They are not interested in producing mid-list authors, or in keeping books in print, or in publishing a good book that won't find a wide audience, just because it IS good."
  
  Deb Staples of SynergEbooks believes that "e-books are a great way to put your foot in the door. Now you can say you are a published author, and begin the process of marketing and learning how the publishing business works... and you can start on your second book. I believe that e-books are a great way to get talented authors into a market that might otherwise never see them." Chase agrees: "Authors can then go back to traditional publishers with reviews and readers' comments, and may yet find a print publisher and a wider audience."

• Less emphasis on standard novel lengths. E-publishing offers a market for books that are longer, or shorter, than traditional print novels. It is an excellent market for novelettes, which can be sold for a lower price than a paperback novel and are often more acceptable to the consumer because they are easier to read (or print out) than a full-length novel. This is the primary reason best-selling author Diana Gabaldon offered her story, Hellfire (previously anthologized in Britain) to Dreams Unlimited: "Care to guess how many paying markets there are for 11,000-word historical mystery stories? Yes, exactly."
  
  
• More control over the process. "Writers have greater freedom with characters and plot, more 'say' in revisions, and more input in cover art and sales blurbs," says Wolf. While e-publishing editors may make suggestions for revisions in a manuscript, authors note that there is considerably more room for discussion and negotiation.
  
  
• Higher royalties. Because the costs of e-publishing are significantly (if not monumentally) lower than those of print publishing, authors receive a far higher percentage of revenues. Royalties range from 20 to 40 percent (in some cases slightly higher); 40 percent is fast becoming the industry standard. Most e-publishers pay royalties every quarter rather than once or twice a year like print publishers. (However, Karen Wiesner, who has sold hundreds of copies of her romance titles and several thousand copies of her nonfiction e-book, notes that "I don't think the combined total of all my book royalties would equal what a standard mid-list author with a traditional publisher makes off a single advance.")
  
  
• Author-friendly contracts. Most e-publishers ask only for electronic rights, leaving the author free to market print rights and subsidiary rights elsewhere. In addition, most e-publishing contracts are renewable rather than indefinite. Thus, instead of tying up an author's work until it "goes out of print" (a meaningless term in e-publishing!), either party usually has the option to renew or terminate the contract at the end of a specified time (usually a year). Most reputable e-publishers also post their complete contracts online, so that an author can review the terms before submitting.
  
  
• Shorter response times. Most e-publishers attempt to respond to submissions within two to four months. Response times are lengthening, however, as the number of submissions increases. "We used to have a four-to-six-week turnaround time," says Marilyn Nesbitt of DiskUs Publishing, "but we get so many submissions now that this is changing. Still, we try to keep a manuscript no longer than four months."
  
  
• Faster publication. Some e-publishers will bring out a title within months of acceptance. However, this is becoming less and less common, particularly among the larger e-publishers, which are often backlogged with manuscripts. According to Wiesner, "None of my e-publishers has gotten a book finished and released in less than a year after it was accepted for quite some time." Even though a book could technically be "published" within weeks, many e-publishers prefer to space out their releases over time -- some have already scheduled their titles through 2003, which means that manuscripts accepted now may not be published until 2004 or later.
  
  
• Multimedia and format options. An electronic book -- whether online or on CD-ROM -- can include a variety of multimedia elements to "add to the experience," notes Siobhan McNally of Domhan Books. Such elements might include music, graphics, animation, audio, or "interactivity-clickable features." McNally also points out that downloadable formats for hand readers often include different fonts, a highlighter, post-it notes, a clickable table of contents, and bookmarking capabilities. This allows the option of providing different formats for different customers. "DiskUs publishing has reached out to the aged and those with visual difficulties, because the medium in which we publish allows readers to set the font size or type, which aids in their reading pleasure," says author Leta Nolan Childers.
  
  
• International availability. "Readers in Australia can buy the book the same day it's released to a buyer in the U.S.," says Bonnee Pierson of Dreams Unlimited. "They don't have to wait for export or foreign rights negotiations. This is a terrific advantage for families who are stationed overseas. . .. Vacationing in Europe and running out of reading material? Plug into the Net and buy a new book! It's immediately accessible to everyone, everywhere." Julie Ferguson, who published a book on naval history, says that her title is frequently downloaded by navy members serving at sea.
  
  
• Longer "shelf life." Since it costs very little to keep an e-book "in stock," a book does not have to sell thousands of copies to remain "in print." As long as sales remain "good" (by e-book standards), most e-publishers are willing to keep a title in their inventory, rather than dropping it for a more profitable title.

Advantages of Print-on-Demand Publishing

For many writers, POD publishing offers the best of both worlds. This form of publishing is considered "electronic" (or at least "digital") in that the manuscript is stored as an electronic file until a customer places an order. The book is then printed and delivered. Since books are printed only when ordered, POD publishing avoids the massive up-front cost of printing several thousand copies. Customers, however, can still obtain a hard copy of a book, complete with a professional cover and a well-designed layout.

Many authors have found that if they offer customers the option of an electronic download or a POD edition, the majority will order the POD version. This suggests that most consumers still prefer a printed book to an electronic file if they are given the choice. Print-on-demand is also a good alternative for someone who basically wishes to self-publish, but wishes to avoid the costs associated with producing a printed book.

Many authors have also found that POD is an excellent way to revive out-of-print books. The Author's guild (http://www.authorsguild.org) offers its members a program through which out-of-print titles can be reissued in POD format, and such titles often sell extremely well. It's worth noting, however, that these titles (and authors) generally have a proven track record of sales, and (quite often) an existing readership.

Disadvantages of E-publishing

Unfortunately, authors (and publishers) admit to a number of disadvantages to e-books as well, including:

• Lower sales. "No, I'm not satisfied with sales -- if I were to compare them to a traditional author's sales," admits Karen Wiesner. "I am satisfied by the fact that each royalty period, my earnings at least double. I'm gaining a following slowly, and with e-publishing being so new, I admit that I'm not expecting to become a bestseller for at least five years." As other authors point out, however, few print publishers would give a title five years to become a "success." According to Mary Wolf of HSWF, sales of five hundred are considered good. Two e-publishers surveyed listed average sales of 30 to 50 copies per title, and one described sales of her own e-book as "pitiful." Many authors have found that if a customer has a choice between a print edition (e.g., a POD version) and an electronic edition, the former will outsell the latter, indicating that customers would still prefer a print edition if they have the choice. (When I first offered an electronic edition of the first version of Writing.com, the print edition outsold the e-edition 10 to 1.) One question to ask yourself, therefore, is what "being published" means to you. If it means reaching a wide audience with your work -- e.g., hundreds or possibly thousands of readers -- you may find that goal difficult to meet with an e-book.
  
  
• Little publisher promotion. While most commercial publishers make some effort to market their books -- often by sending out press releases and review copies to e-zines -- all agree that the primary task of marketing falls upon the author. "Don't sit back like your job is over and expect the cash to roll in," warns Wiesner. "In a field this new, you have to do one hundred times more marketing than a traditional author. Don't allow opportunities to pass you by." Sherry Ma Belle Arrieta says that marketing isn't a one-time thing, but a daily task. "Once you're done writing your e-book, you become a marketer/promoter." In interviews I conducted with e-book authors, nonfiction authors with experience in self-promotion (including active, popular Web sites) reported significantly higher sales figures than authors of fiction.
  
  
• Lack of availability in bookstores. Though e-books are available through many online bookstores such as Amazon.com and Barnes & Noble, they are hard to find in traditional bookstores. Though all e-books can be ordered by their ISBN, this isn't the same as being "on the shelf." When traditional bookstores do accept e-books, it is usually due to the promotional efforts of a local author. Research on book sales by such firms as Forrester Research, however, indicate that up to 92 percent of all books are still sold through traditional bookstores -- and e-book downloads still make up only a small fraction of the books sold online.
  
  
• No advance. Besides the obvious financial drawbacks of not receiving an advance, this can create other problems for authors. Many professional organizations, such as the Romance Writers of America (http://www.rwa.org) require a writer to have "commercially published" a certain number of books to be eligible for professional membership. However, these organizations also tend to define a "commercial publisher" as one that pays an advance (and that publishes a minimum number of copies). This automatically excludes e-publishers, which means that an e-published author is not considered "professionally" published by these organizations. E-books are excluded from many industry awards for the same reason.
  
  
• Fewer reviews. While some publications (especially online) review e-books, many traditional book review sources have been slow to accept them. "They're still under the impression that we're not selling 'real' books," says Pierson. Karen Wiesner agrees: "I doubt too many metropolitan newspapers would consider e-books at this time." Nor are e-books likely to be reviewed in major book and library trade publications, such as Kirkus Reviews or Editor and Publisher.
  
  
• Lack of security. Concerns about piracy deter many authors from considering e-publishing, and indeed, there is little to prevent someone from buying an e-book and making and distributing an unlimited number of copies. (Hackers cracked the security codes on Stephen King's Riding the Bullet Iwithin days, though this seemed a fairly pointless exercise, as the book was being distributed for free by many online bookstores anyway.) Some e-publishers (including King) attempt to increase security by adding more restrictions to downloads -- such as making them non-printable -- which simply serves to annoy consumers. Most e-publishers don't consider this a serious issue, however. According to Sandy Cummins of WritersExchange Epublishing (http://www.writers-exchange.com), "I recently had a run in a group of e-book pirates) and discovered their main requirements were cheaper books and the ability to get the well-known print authors' books."
  
  
• Consumer reluctance to read "online." Perhaps the biggest obstacle to e-book sales is the reluctance of many consumers to read a book on their computer screen -- or pay the cost of paper and toner to print it out. "I love the quality of e-books, but I don't find e-books convenient," says Karen Wiesner. "I can't afford a dedicated reader or a PDA and have no real desire to purchase either of these types of electronic devices. I read on the computer all day, so I'd rather not read a book on a computer or a small PDA screen at night." Michele Johnson of the now-defunct Petals of Life notes that portability is another issue: It's difficult to read an e-book "in the car, in bed, or in the tub." Diana Saenger of Sands Publishing predicts that "if a reader does not emerge and become as popular as the Palm, e-books are dead. If one emerges, it could become the avalanche of a whole new technology."
  
  Besides consumer reluctance to read a book on a computer screen, there is (as Wiesner notes) the understandable reluctance to pay $300 to $600 for a separate hand-held reader. While many companies are working on the "ideal" e-reader, it still seems to be several years in the future.

Disadvantages of Print-on-Demand

Arline Chase (EbooksontheNet - http://www.ebooksonthe.net) has this to say about POD publishing:

POD books never go out of print, but as of now the price is prohibitive and distribution is minimal at best, though that is changing. PODs are printed one at a time, as they are ordered. No book is printed until it is ordered and there is a "no returns" policy. Bookstores are reluctant about that.

Print publishers print thousands of copies and may pay a little as $1 each for a trade paperback. Most major distributors pay 30 percent of a sale price -- about $4.50 for a trade paperback that sells at $15. They in turn give the bookstores a discount of 40 percent off list price. That $6 discount becomes the bookstore's profit when the book is sold to the customer at $15.

A POD book can cost $6 to print. Obviously, it can't be sold to a distributor for $4.50. The result is that in order to accommodate the distribution system, some POD paperbacks list prices as high as $25. Customers tend to frown on prices that high for a paperback. Bookstores are understandably reluctant to order directly from the POD publisher, because they have to pay full price and make nothing on the transaction.

Because of these bookstore discounts, many print-on-demand publishers offer lower royalties for books sold through bookstores (including Amazon.com) than for books sold directly from the publisher's Web site. Since print-on-demand royalties tend to be lower than e-book royalties (20 to 35 percent rather than 40 percent or more), this can cut significantly into an author's profits. On the other hand, the price of a POD book is generally higher than for an e-book, and many buyers will choose a print edition over an electronic edition even when the latter is less expensive.

Many would-be self-publishers choose the POD route because it involves so little upfront cost. It also enables an author to avoid setting up an entire retail "publishing" business (which involves getting a business license, establishing a "doing business as" name and more). The problem with using POD books in a "self-publishing" venture, however, is that the author cannot set deep enough discounts to sell multiple copies effectively. Similarly, the author must purchase any books used for promotional purposes (such as sending to reviewers). While some POD publishers (such as Booklocker.com) offer author discounts, others do not -- which means that this could cost the author anywhere from $7 to $15 per review copy.

What to Look for in a Commercial E-Publisher

Though many e-publishers have gone out of business in the past four years, more have arisen to take their place. There are still more than 100 commercial, independent e-publishers to choose from -- so how can you determine what to choose? Here are some pointers offered by publishers and authors:

• Does the publisher have a good Web site? Is it clearly laid out, so that you can tell what the publisher offers?
  
  
• When you visit the Web site, does it present an appealing "store front" that entices visitors to buy the books? (If a site doesn't make it easy or inviting to buy, chances are that visitors won't buy your book.)
  
  
• Did you learn about the publisher from outside publicity, or stumble across it by chance?
  
  
• Has the publisher been recommended to you by a reliable source?
  
  
• Is the publisher a member of a professional electronic publishing organization, such as EPIC?
  
  
• Have the publisher's books (or site) won any awards or achieved particularly favorable reviews or publicity?
  
  
• Does the publisher provide its contract either on the site or on request?
  
  
• Does the publisher ask for appropriate rights? (Most publishers ask for electronic publishing rights only.)
  
  
• Are the royalties "industry standard" (from 20 to 40 percent or higher)?
  
  
• Can you cancel the contract after a period of time (or at any time)?
  
  
• Does the publisher offer the type of books you write?
  
  
• Does the publisher offer the type of books you like to read?
  
  
• Are the covers on the site appealing?
  
  
• Review some of the excerpts or descriptions of other titles; do they appeal to you? Do they seem well written and edited?
  
  
• Are the books priced reasonably?
  
  
• Does the publisher offer a variety of formats (e.g., PDF, HTML, Palm, POD, etc.)?
  
  
• Has the publisher been in business for long?
  
  
• Will the publisher provide you with contact information for other authors, so that you can contact them for references?
  
  
• What is the experience of the publishers' editors?
  
  
• Are books edited and proofread before publication? (Will you have a chance to review corrections and "galleys" before publication?)
  
  
• If books are produced on disk or CD-ROM or in POD format, how many free copies will you receive? What is your author discount on subsequent copies?
  
  
• Does the publisher advertise, and if so, where?
  
  
• Does the publisher offer advance review copies to professional reviewers and review publications? Where are the publishers' books reviewed?
  
  
• What promotional assistance will the publisher offer you?
  
  
• Are the publisher's titles on Amazon.com and other online bookstores?
  
  
• Does the publisher provide an ISBN and copyright registration?
  
  
• Can you communicate with the publisher? Do they answer your questions? Do you feel that the publisher is being honest with you about your book's potential in this medium?
  
  
• Will you feel proud of the finished product?

It's also not a bad idea to purchase two or three sample books from the publisher (particularly in the genre in which you would be submitting) to read and review. Check the quality, both of the content and of the editing. Would you read another book by the same author? Or do the books contain grammatical and typographical errors? In short, would you consider your book to be "in good company?"

Things to Watch Out for in an E-Publisher

A poor Web site that makes it difficult to shop for books or purchase books; a site that is slow to download; or a site that seems more interested in soliciting authors than buyers.

• Any request for money in advance, for any purpose.
  
  
• Inability to review a contract in advance.
  
  
• Inappropriate rights requests, such as requests for subsidiary rights (such as movie, audio, or translation rights) that the publisher is not likely to use. Watch out, as well, for a contract that asks the author to give the publisher a percentage of any subsidiary rights that the author sells.
  
  
• A contract that claims print rights, or prohibits you from selling print rights elsewhere.
  
  
• A contract that claims rights or revenues from the sale of your book after the contract itself has been terminated. (For example, one print-on-demand company claims the non-exclusive right to continue selling your book for a full year after you terminate the contract.)
  
  
• A contract that does not have a termination clause.
  
  
• A contract that claims the right to use your work in other publications offered by the publisher.
  
  
• A contract that requires the author to submit his or her next book to the same publisher for consideration ("right of first refusal").
  
  
• Poor customer service.

• Inability to communicate effectively with the publisher -- e.g., e-mails not answered in a timely fashion, or questions not answered fully, honestly, or accurately.
  
  
• Anything that gives you an uneasy feeling!

While there are many excellent, professional e-publishers in the business, there are also plenty of individuals who have simply slapped together an "e-publishing business" in the hope that it will make money. Often, these companies are well-intentioned, but simply lack the skills to select high-quality titles, to edit those titles effectively, or to market them. When choosing an e-publisher, you want to find one that will be in business for awhile, and that will "invest" in your book.

Should You or Shouldn't You?

Despite its "boom and bust" swing, electronic publishing is still an industry in its infancy -- "in the toddler stage," says Bonnee Pierson -- and also an industry that is undergoing rapid change. Technological advances are continually reshaping the industry. Consequently, it is extremely difficult to predict what will happen next or how the industry may change in the next few years.

Many commercial e-publishers are taking active steps to influence these changes and to improve the reputation and acceptance of e-books. E-publishers and authors consider "consumer education" (and industry education) to be a major part of their mission. Most are certain that consumer and industry acceptance of e-books will continue to grow, especially, as Mary Wolf says, "with the next generation, who are growing up with computers and taking reading on them for granted."

One thing is clear: It is a choice to be made carefully, after serious consideration of the potential advantages and disadvantages. It is not a venue to rush into out of desperation or excessive haste to be published. Decide, first and foremost, what you consider your measures of success as an author -- and then decide what form of publishing is most likely to achieve those goals.

Electronic self-publishing can, indeed, be a path to success. It can also be a siren song that leads unwary authors onto some serious rocks. Opportunities for online publication should be assessed not on the basis of ego, desperation ("I'll never be published any other way"), or the ease with which such publication can be accomplished, but on a serious evaluation of the pros and cons. How much effort will you have to expend, for what return? Will your rewards be tangible (more money) or intangible (an enhanced reputation that will lead to a wider audience and more or better assignments)? Knowing exactly what you must invest (time, money, energy, passion) and what you will receive for that investment is the key to making wise Web-publishing choices.

For More Information:

Many of the resources cited in this article are no longer available online. For Writing-World.com's most current links to e-publishing information, see our E-publishing Links.

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