Traditional Publishing

Why choose traditional publishing?

When first started, back in 2001, there were only two games in town when it came to getting your book published: traditional publishing, and vanity publishing – and which you should pick was a no-brainer. Vanity publishing was little more than a scam that would leave you with an empty bank account and a house full of unsold books. If you were serious about being a writer, you had to follow the traditional publishing path.

Since then, there has been a self-publishing revolution, with new technologies and new printing methods giving writers a genuine opportunity to get their books into the market by themselves. So, in , is there still a reason for writers to choose traditional publishing?

The benefits of traditional publishing

Despite the allure and apparent ease of self-publishing, the traditional path still offers you the best chance of making a success of being a writer. There are rare cases where self-published writers make staggering fortunes and become internationally renowned on the back of their self-published books, but these cases are few and far between, and a tiny drop in the rapidly expanding ocean of self-published works. The vast majority of successful books – and the vast majority of successful writers – have their homes firmly in the established publishing houses. Even those self-published authors who find success usually end up moving to a traditional publisher in the end.

This is because the traditional publishers have the systems, the market presence, and the financial clout to make a book a bestseller. While successful self-published authors often owe their success in no small part to a decent dose of luck (a social media comment that goes viral; the right mention on the right media outlet at the right time), traditional publishers are in the business of engineering that success. They might not always succeed, but they have the marketing budgets and the distribution channels in place to give themselves, and the book they are promoting, the best possible chance.

And it's not just the marketing and the distribution. Getting signed with a traditional publisher brings a whole team of people with a wealth of expertise that will all work towards the success of the book. It will provide you with an editor who may have experience of working on previous bestsellers, who will not only help you get rid of mistakes in your work but may also help you refine it into a better book. They will help make sure that the quality of your content is good enough to make it in the marketplace.

The publishers will source a professional cover designer who will make your book look the part on the shelves and on the pages of the bookselling websites. They will have accountants who will handle the technicalities of tax regimes both home and abroad. They will have overseas contacts for establishing foreign publishing rights; translations; etc. They may even have contacts in the film industry, should there be a prospect of a movie adaptation. They will have experts working on every aspect of your book, right down to the printing and the warehousing and the shipping of the physical products. They will have people to manage the ebook conversion and the electronic distribution. As an author, you don't need to worry about any of this.

This means you get more time to simply be a writer. You may have to go on book tours, but even these will be organised for you by PR experts, who will also be handling all the press releases, etc.

And then there's the advances. Advances are up-front payments made by traditional publishers to authors, which are off-set against future royalties. So, an author might receive a $5,000 advance before their book is published. When the royalties start coming in, the publisher keeps the first $5,000 to off-set the advance. The good news for the author is that if the book flops and doesn't make $5,000 in royalties they still get to keep the full advance. In an uncertain profession, the security of an advance can be invaluable for an author – and of course it's not something available to self-published authors.

The drawbacks of traditional publishing

The main downside of traditional publishing is just that it's so hard to get into. If you choose to self-publish then – provided you have enough perseverance, the right help and advice, and perhaps a little bit of money – you are guaranteed to succeed and see your book in print and for sale. With traditional publishing, the cold hard fact is that most people who try will not succeed.

And for many of those people who fail it may not even be their fault. That aspect of traditional publishing which can bring so many benefits as compared to self-publishing – that of being part of a team – can also be part of its biggest drawback. It means that you have to get other people to buy into your book. It means that you have to rely on other people being competent enough to spot a bestseller. Many failed to spot the potential of the Harry Potter books. How many potential bestsellers never make it into print just because none of the professionals at the publishers' gates manage to recognise their potential?

So if you choose traditional publishing your destiny is not in your own hands – and for some writers the lack of exclusive control can also be a problem. Sometimes writers get defensive when editors try to tinker with their work, or annoyed when cover artists don't realise their vision the way they expect. But this is hardly a fair criticism of traditional publishing, as most writers (particularly when they are starting out) will benefit from advice from experienced professionals in the field, and will often only be shooting themselves in the foot if they insist on ignoring it.

The final main drawback with traditional publishing is that less of the sale price of each copy makes it to the writer. A typical royalty contract will give the writer 15%. With a self-published book, the author can expect to receive much more. So, all other things being equal, the self-published route can be more profitable – but, of course, all things are not equal. If self-publishing means lower sales (as is likely), then you will probably make less money overall. Remember, it's better to have 15% of something than 50% of nothing.


In conclusion, our advice to writers would be to aim for traditional publishing first. It might be a long shot, but if it works then you stand a much better chance of being successful. If you don't manage to get signed by an agent or a publisher then you still have the option of self-publishing, but make sure you don't get tempted to resort to self-publishing too soon – most agents and publishers won't consider self-published works, so this is a one-way street. Once you've self-published your work, you probably won't be able to change your mind and go back to the traditional publishers with your book unless it becomes a huge hit without them. It's therefore important that you exhaust all your traditional publishing options before making the leap to self-publishing. Be prepared for this to take perhaps a few years (lots of agents and publishers can take six months just to respond), and make sure you've submitted to everyone you can on both sides of the Atlantic (publishing is a global game these days, and you need to concentrate on the two main centres of English-language publishing (New York and London) equally) before you make the decision to self-publish instead.

For directions on your path through the traditional publishing process see our Writers' Roadmap.