When I was a kid, TV actors were second tier to movie actors. Rarely did a TV actor become a movie star and even more rarely would a movie actor star in a made-for-TV movie or consider a permanent role in a TV series. Such a move signaled the death nell for that actor’s Hollywood career. Today, TV is the breeding ground for Stars—capital S, no qualifier, and no one blinks when a top notch actress such as Glenn Close choose take roles in TV series (I hear she’s phenomenal in her new show, Damages).
There was (and still remains) a similar stigma in other spheres of media—music, art, and the subject matter of this blog: literature. Good authors and good writing are bound by reputed magazines and book publishers. Bad authors and bad writing appear in substandard media such as ezines, blogging and self-published pabulum. So when, after publishing two business books via esteemed publisher Jossey-Bass, I chose to self-publish my first novel, Able Was I, my writer friends thought I was crazy.
Instead of refuting this recrimination, I will instead focus the reticent e-author half of this dichotic blog on:
- The rapidly changing world of media—specifically written media
- Why I chose a traditional publisher for my business books and POD for my novel
- The trials/tribulations, lessons learned, and repercussions of such a decision
To make the narrative more interesting, I’ve opted to self-publish my second novel as well. This decision was not because of my idyllic first POD experience but rather myriad* factors that I will detail in future blogs.
Finally, for those who believe that POD publishers are glorified vanity presses, there is long president of self-publishing form the likes of Proust to Twain, though I guess one could argue that there is no better example of a vanity book than Proust’s Remembrance of Things Past. For a recent, more personal example, I give you my friends’ POD published book Knowing Pains, Women on Love, Sex, and Work in our 40s that recently scored a Today Show plug.