This week, British indie author Ben Galley talks to allonymbooks novelist Evie Woolmore about his writing and his brand new e-book distribution website, Libiro.
Ben, you’ve had a busy year, releasing two books and launching an e-book store among your galaxy of other activities. We’ll talk about Libiro in a minute, but I’m interested in how and why you settled your first published novels in epic fantasy, a very strong genre in indie publishing.
I think you’ve hit the nail on the head there. Fantasy in general is seeing a huge surge in popularity, and publishers are responding in kind. Both indies and traditionals are churning out great fantasy books like there’s no tomorrow, and the readers are inhaling them at an equal rate. It’s an exciting time, especially now that we can all chat to each other and share great reads so easily via Twitter and Facebook.
Another reason I chose to write and publish fantasy is that I’ve always loved it as a genre. Ever since I was a kid I’ve always had my nose buried in a book, drinking in mythology and the wildest dreams of Tolkien, CS Lewis, Gaiman, or of Robin Hobb. It is fantasy’s limitless nature, that I admire – how each author can spill their imagination onto a page, and experiment without worrying whether they’re thinking too far outside the box. That’s why I like it, and why I like writing it too. It’s gives you a wonderful sense of satisfaction, when you realise you can get away with writing about minotaurs, and goblins, or shadows and magic. The stuff we all pretend is real when we’re young.
So what do you think indie publishing offers fantasy writers that perhaps traditional publishing doesn’t? As an author of magical realism myself, I like indie publishing because I don’t have an editor or a marketing team saying ‘I can’t pigeonhole that, it’s too original to be sellable.’ To what extent does that argument apply for fantasy genres?
I think pigeon-holing happens across all genres, and all publishers are somewhat guilty of it. It’s a natural thing to do, after all, when you’re funding a debut book with your own money – you want to make sure it sits nicely inside a genre, so that it sells, and sells well. If it’s a little too out there, and has even the slimmest chance of taking a commercial nosedive, then there’s a risk you might lose the money you’ve put it into it. But indies don’t have this problem! Our publishing costs are much, much lower than that of a publishing house. Also, thanks to the big reading boom, there are a lot more readers exploring the niches of popular fiction. Fantasy fans are doing this en masse. There’s just something about fantasy and sci-fi fans. They put the fan in fanatical. All this is great news for us indies – we can publish books that push the boundaries, and actually sell them too.
What have been the best and worst bits for you about indie publishing your own work?
That’s a good question! There are so many good bits. Taking the reins with both hands gives you an enormous sense of accomplishment when progress is made. After all, it’s all down to you, and so you deserve to be pleased and proud when a great review comes in, or when a bit of fan mail pops into your inbox, or when you glimpse the last months’ sales figures.
One of my proudest moments will always be walking into a Waterstones, and spying my book sandwiched between the likes of Neil Gaiman and David Gemmell. And I didn’t even put it there! The store had taken a chance, based on its cover, and I later learnt they were selling very well. It’s at those moments that you can’t help but grin like a halfwit. You suddenly realise it’s all been worth the hard work.
There are down-sides, of course, as there are to most things. Self-publishing can be difficult at times, primarily because there are days when it feels like you’re not going anywhere, but trying everything. It can be hard when you’re faced with doing everything yourself, and in those times, all you have to do is remember what you’ve achieved already, and the pros of the self-publishing path. Keeping those at the forefront of your mind will always help.
So, given that you have had success in bookshops with printed versions of your books, what led you to set up Libiro? What are you offering the indie writer – and the reader – that other e-book distributors don’t?
What led me to set up Libiro was my own experience in the digital world. I’ve had success in both the print world and the eBook world, but each has their downsides for us indie authors. For instance, in the print world it can be difficult to get major bookstore chains to take your book. With eBooks, however, getting your book into a store isn’t difficult but standing out amongst the crowd can be, especially at vast stores like Amazon and Kobo. They’re great providers and very author-centric, but it can still be tricky. Another thing we indies face is the self-publishing stigma – the belief that just because a book is self-published it is automatically of a lower quality than a traditionally published book. These are the issues my co-founder Teague Fullick and I wanted to tackle.