Artist labels are the model of the future.
Self-publishing is a fact of life for first time authors. If you are famous or have industry connections, you might be able to skip this step. Most of us don't and, regardless of talent, no amount of writer's conferences or query letters are going to attract the attention of New York editors until you have developed an impressive resume.
It would be like starting your job search straight out of college by applying for CEO of a Fortune 500 company. We all have to start in the mailroom until we've shown what we can do in the real world. To take that idea further, many of the most famous musicians started out by producing their own EPs, demos, or vanity projects until they built a fan base sizable enough to garner the attention of A&R reps.
A growing trend in the music industry, among established and emerging bands, is the artist label. This idea has been around since music was first being recorded, but with the rapidly shifting landscape of the music industry, artist labels are a way for musicians to deal direct with fans. There is less overhead since the talent is handling a lot of the chores of marketing, packaging and production. The talent also retains more of the rights to their work, so if there is a breakout hit, then more money goes back to the artist.
Starting a small press is best when taken under this model. When Literati Press started, I knew I would be doing the bulk of the work, but didn't want to actually own anyone else's project or really even profit off us. It was more about sharing the load in the hope that if one of us makes it, then it would be good for all of us. The keys to doing this successfully are:
Keep it lean and mean. The fewer projects and artists/authors you take on, the better. If you are producing too much, then you can't properly focus. Quality control also diminishes, and your press is only as good as your reputation.
Avoid vanity presses and use print on demand. We use Lightning Source, which also comes with distribution at no extra charge, but there are other excellent print on demand services out there as well. We design our covers in house, though will often pay photographers or artists to produce the cover image. If you can do this on your own, by all means but make sure it looks professional. It is better to pay a quality graphic artist than to put out an unprofessional project.
Edit! When you are done editing, edit again. Then pay for a professional editor. This can start at $1 a page and go up. Make it an ethical point to pay people for their services. I know this is an extra charge, but typos are annoying to first time readers. Also, you can not improve as a writer until you have someone tearing your work apart and helping you put it back together.
Only work with people you trust and whose artistic vision you respect. Don't take on projects as a favor, no matter how much you like the person. Ensure that everyone involved in the press brings something to the table. Not everyone has to travel to conventions or work on marketing, but if they don't help carry the load or extend your brand in anyway, then don't take on their future projects.
Do not take on debt. You will need to print, you will need to buy convention tables, pay for ads, produce merchandise, pay for travel, get hotel rooms, etc. Do not take on debt. If you cannot pay for these things outright, readjust your expenses or your goals until you can. Debt will destroy a small press since even the most successful small presses are not money-making ventures. I currently have five jobs to help pay for Literati. Its hard work, but its necessary to keep the dream alive.
Grow your sphere of influence slowly. Don't start traveling coast to coast on your first book. Start inside your state, build a following there and learn the game. Expand regionally and then nationally. Don't worry about getting your book into every bookstore in the nation, it is more important to meet the fans face to face. You should, although, find a small and select group of privately owned bookstores that specialize in your area of expertise and develop close relationships. If you can get an owner or clerk to hand-sell five books, then it will be much more valuable in the long run than selling ten at a Barnes and Noble signing.
When you travel, go as a group. There is nothing more off putting to readers at a convention than one guy with one book. That's where I started and I made it work, but once I started traveling with comic book artists and novelists, it legitimized us all. That is the true benefit of establishing a small press, strength in numbers. Again, don't just team up with anybody. Find someone who compliments you and whose work is in the same vein as yours.
Network at every event. If you are at a conference, talk to your neighbors and make nice. If you meet another press, talk shop and share secrets. You aren't competing with other writers for convention dollars. There are more than enough to go around especially if we work together. you also have no idea who or where the big break will come, so treat every customer and contact with respect and courtesy. You never know who they might know.
Give back. Don't just go to conventions, help out with your own local conventions or start a book fair. Support your local music scene, volunteer at an animal shelter, anything that calls to you. You will lose money and time on this, but if you asking people to invest in you, then you should be willing to invest in them as well.
So, that's a somewhat brisk introduction into starting a press. If you've got a project you believe in. Stop waiting for the big break and just get it out there. Find a few friends who right the same type of stuff, and join up to make your own small press. If your work has value, it will gain steam and, over time, the big break will find you.
