Black authors are finding it increasingly difficult to get their work published by major publishing houses if their novels do not fit the stereotypes of black contemporary literature. While some use their idle time to hone their skills, others find alternative ways to get their work to readers, such as through self-publishing. Some writers revel in the opportunities that self-publishing creates for black authors; others are not as enthused.
“It’s an extremely difficult time, one wrought with rejection. But through that rejection, you learn how to write. Every time someone slams a door in your face, you raise your game. You do this until you get so good that no one can say no to you” -- Matt Johnson
After Mat Johnson, author of “Hunting in Harlem,” posted a scathing entry on his blog, www.niggerati.com, called “Lesson #3: How Self-Publishing is Ruining a Generation of Black Writers,” it became obvious that he belongs to the latter group of writers. Johnson argues that authors should spend more time perfecting their skill as opposed to seeking the instant gratification self-publishing can bring.
“Instead of using those beginning years to build their craft and become better writers, writers who self-publish jump into the business end, spending their formative years shilling substandard work,” Johnson argues. “Those first years of writing are essential to a writer’s growth. It’s when you pay your dues, [and] try to build a new voice as an author.”
“It’s an extremely difficult time, one wrought with rejection. But through that rejection, you learn how to write. Every time someone slams a door in your face, you raise your game. You do this until you get so good that no one can say no to you,” he later adds.
While some authors share the same sentiment as Johnson, others speak on the positive aspects of self-publishing. Bryan Gibson, author of two self-published novels, opted to self-publish his work after nearly every publisher and literary agent refused to represent him.
“All those rejection letters were making me sick,” Gibson laments. “Self-publishing was the only way I could get my books to readers and retain my artistic integrity.”
Gibson argues that the content in his novels rather than the quality is the reason he is not published by a major publishing house.
“Publishers expect a certain-type [of] fiction from black authors and [literary] agents, who are the go-betweens [to] the publishers [and] typically will accept only those authors whose works are easily marketable to a specific audience,” he comments. “My work isn’t publisher-friendly; its contents cannot be summed up in a cover featuring a half-naked man or woman staring into space, hence I [have] no agent, or publishing contract.”
While some self-published novels like E. Lynn Harris’ “Invisible Life” and Sister Souljah’s “The Coldest Winter Ever” have become major successes and have caused major publishing houses to take notice, most self-published books end up costing the authors a fortune and leave them in relative obscurity.
“Self-publishing allows me to release what I wish to release, without concern for its salability,” Gibson explains. “[But] self-publishing is both costly and time-consuming [and] lacks the means to market and distribute work. An author can easily find that all [the] money and time achieved is a closet filled with unread books.”
Authors wishing to self-publish their work may also encounter problems with vanity publishing. Vanity publishing is when a fraudulent publisher contracts an author regardless of the quality and marketability of their work. These “publishers” prey on vulnerable authors who want to see their work published and charge them outlandish fees.
An author who has gained popularity and produced hit book after hit book through self-publishing is Omar Tyree, the man who began the trend of the ghetto romance novel. Tyree fires back at detractors who believe he is a one-trick pony.
“[Readers] don’t like to search long to find out what a book is about—they like to know already,” Tyree argues. “[Authors] don’t have individual promotions like radio songs and film trailers, [so] it’s a lot easier to know that a writer is a mystery writer, horror writer, crime writer or romance writer so the reader knows what they are getting into.”
“Authors really don’t have the marketing dollars to push different types of books. But all artists are boxed in, not just authors. People are lazy with art across the board,” he later comments.
Tyree initially decided to self-publish his work after growing weary of the “1990’s movement in literature of [non-fiction works].” He explains the pros of self-publishing as gaining fame and notoriety, but he also weighs in on the cons.
“Or course the pro is getting your work out to the public and making money and a name for yourself,” Tyree explains. “But the con is not being respected, not having advances, not having an editing staff, marketing staff, a national tour or the respect that the big publishers have.”
There is a stark misconception that all self-published books are bad. Granted there are some bad self-published books, there are also some good ones in the same way that major publishing houses release good books and bad books. Mat Johnson offers his advice to aspiring writers frustrated with major publishing houses who are thinking of self-publishing their work.
“Wait until your writing [is] good enough that somebody will pay you for it,” Johnson explains. “If you have patience and respect for the craft, you can become a real writer. Otherwise, you’re just becoming a hack.”
