Publishing models: out with the old, in with the older?

One of the hardest parts of being a writer of historical fiction (after writing the book, obviously) is deciding how to get your work in front of your readers.

For most, there will be the pull of traditional publishing; of having your work accepted by a storied agent who submits it to legendary editors, of cover designs and copy edits, pub dates and advances.

Yet while there is still a certain cachet in having your work accepted for publication by a traditional publisher, other models might suit individual writers better.

The most obvious alternatives are self and hybrid publishing, where more of the non-writing work – the editing, marketing, sales, publicity and distribution – is the sole responsibility of the author.

Self-publishing in particular is often considered a relatively new phenomenon, but it’s actually been around for longer than most people realise. Mark Twain famously self-published The Adventures of Huckleberry Finn when he wasn’t happy with the profit margins he was getting from his publisher.

But it is also fair to say that these approaches have enjoyed a shot in the army thanks to the advent of technology. Ebooks and their associated marketplaces have made it much easier for anyone to turn a manuscript into a finished book and get it out into the world.

What’s often overlooked, however, is how other forms of distribution are enjoying a resurgence thanks to technology.

Subscriptions, memberships and crowdfunding are all offering alternative routes for writers. And while all are much easier to set up and launch nowadays, they too are much older than many people think.

Following Dickens and Dumas into serials

Take serialised subscriptions. Charles Dickens and Alexandre Dumas both began their careers with serialised novels.

But whereas they did so because there was demand from periodicals and newspapers, nowadays writers have platforms like Substack. They might have started as newsletter services, but for more and more writers, one of the main reasons to publish via these platforms is the built-in subscription services. Authors such as Holly Brown and Sue Meredith Mann offer subscribers their novels in serial form, with new instalments available regularly.

If the subscriptions are paid, writers get a regular income that could end up being more per reader than if they had sold physical copies of their books.

Even free options have benefits to writers, particularly when it comes to building audiences. Providing free subscribers with introductory chapters can help gather interest and get people excited before they take the plunge into paid offerings.

Serialising a story to subscribers can also be a way of helping shape the story. As Mann notes in her about section, her “beta readers love the book – but they all know me in some capacity. Does the book have merit in its own right, just as a story?” Building a subscriber base on a platform such as Substack and beehiv can help generate feedback, whether it’s direct – such as receiving reader comments – or through metrics such as engagement with that chapter.

The new (old) patronage system

Membership platforms like Patreon and Ko-Fi provide similar opportunities for writers to offer readers different levels of access. Where they tend to differ from the subscription services is that there is usually a greater emphasis on supporting a writer’s work. So payment may not just be for the book, but as part of a demonstration of appreciation. It’s a bit like the old patronage system that William Shakespeare, among others, benefited from, the main difference being that today it’s the average consumer that’s the patron, rather than a wealthy benefactor.

There is also a greater focus on writers providing readers with additional content and benefits. For example, graphic novelist Paul Guinan runs a Patreon for his work about the fall of the Aztec Empire. He offers six paid membership tiers, each with different benefits, such as dedications, likeness as a character or original sketches.

Membership approaches also cultivate fan bases, attracting those who want to invest in the writer and the stories they tell; not just buying the books, but joining an exclusive club. Historical fantasy author Lucy Holland uses Patreon to offer research notes and other content to deepen her readers’ relationship with her work.

Testing the waters with crowdfunding

Then there’s crowdfunding. High fantasy and science fiction author Brandon Sanderson broke records when his crowdfunding for four novels made more than $45 million across Kickstarter and BackerKit in 2022. He also used it to fund a special limited edition of another of his novels.

As with memberships, pledging different amounts gives readers access to various rewards, whether bundles of books, signed editions or being included in the work (one project promised to make backers of its highest tier guests at a character’s wedding).

One of the major benefits of crowdfunding is that it helps to gauge interest in the story being offered. While a lot goes into a successful crowdfunding campaign beyond a great story, it does give writers a sense of what their readers are willing to pay for.

Combining multiple models

It’s a benefit that’s at the core of Unbound’s business model. While submissions have to go through a selection process similar to that of a traditional publisher, whether the book is published or not ultimately comes down to whether it receives enough backing. Assuming it does, authors then have the support of the company’s editors, sales and marketing teams to get their work fit for public consumption. Everyone involved already knows that there is a level of interest in the work that can be built upon, reducing the risk for all involved. Solange Burrell, Katharine Quarmby and Alex de Campi have all published historical fiction in this way, often covering topics and eras that might not fit with traditional publishing’s trends.

And that’s a key point to remember when considering which model to adopt. Historical fiction, like any genre, has certain areas that are considered more commercially viable than others. In the UK, for instance, there’s the Romans, the Tudors and the World Wars, then possibly the Vikings, the Middle Ages, and certain parts of the 18th and 19th centuries, such as the Regency.

It’s a commercial reality that traditional publishers (particularly the bigger ones) have to consider whether a book has a market. Debating whether that should be the case is a matter for a different article, but what it does mean is that certain periods don’t get the same level of attention as others. Adopting non-traditional models could be a way of getting your novel on a love story set in pre-Roman Britain to its readership.

A publishing model for all

There’s one other point to make: this is not an either-or choice. If you choose the traditional approach for one work, there’s nothing (aside from perhaps any legal restrictions depending on your publishing contract) stopping you from using another model for later books.
Some models complement each other well, and can even be used to boost each other. Michael Jecks has published more than fifty books with traditional publishers and also runs a Patreon to engage with readers in more depth.

Ultimately, it’s about reaching readers. Whether they’re picking up your latest hardback in Waterstones, receiving a new chapter via email, or pledging to crowdfund a signed leather-bound limited edition, what matters is that they read your words.