For the past several years there have been various “furors” in the F&SF writing community about who’s been publishing what, about who’s not publishing what, and about which type of books are getting nominated for what awards. The latest semi-furor seems to rest on the idea that traditional publishing houses, i.e., the big New York publishers, will collapse because they’re now publishing a much wider range of books, instead of largely publishing the kind of F&SF books released from roughly 1955 to around 2000, that is, largely male-dominated, action-oriented, speculative fiction where the emphasis was on science or magic and action. Not that a lot of other types of F&SF fiction weren’t also published, beginning in the 1970s and increasing over the years, but the trend has been toward a broader range of F&SF. The result, predictably, is that fewer writers who produce “traditional” male-oriented action F&SF are getting published, and those who aren’t getting published or not as much aren’t happy about it.

First, if I’ve figured correctly, fiction only comprises 45% of total book sales revenue, and F&SF only comprises about 15-17% of total fiction sales, or roughly seven percent of total revenues. I may be a bit off, but those figures are in the right ball park.

The other aspect I’ve noticed is that, very quietly, the traditional publishers are inspecting their bottom lines and weeding out editors and imprints that aren’t selling that well. I don’t see them throwing out authors whose books sell well just because they write action-oriented fiction featuring predominantly male characters.

Second, over the past three centuries there’s always been a market for inexpensive written stories and entertainment, but who published it and how has changed over time.

The “penny-dreadfuls” of the mid-1800s in Great Britain were cheap, usually gory. adventure/crime/horror stories aimed at young men, and by the end of the nineteenth century, the market was swamped with “penny” knockoffs. They were printed on paper so flimsy that very few examples remain.

In turn, they were followed, not only in Great Britain, but in the United States, and elsewhere, by the era of pulp magazines, which by the mid-twentieth century largely gave way to the mass market paperback. I was personally very familiar with F&SF mass market paperbacks, because my mother had a small gray bookcase filled with them, and they cost during that time from thirty-five to fifty cents, thirty-five cents then being roughly equivalent to $3.50 today. But what gets overlooked in such comparisons is that that thirty-five cent paperback was only 150 pages long, compared to the massive 350-600 page plus paperbacks of today. In essence, mass market paperbacks cost about as much per page as they did sixty years ago.

The cost problem isn’t so much inflation; it’s purchasing power. In 1960, a worker could buy at least two paperbacks for an hour’s minimum wage. Today, an hour’s work at the federal minimum wage won’t even buy one mass market paperback.

This makes lower-cost e-books more attractive, and with the advent of e-books, writers who don’t want to deal with traditional publishers or writers rejected by them can self-publish, and most of those who do so charge less than traditional publisher. Often, as was the case with the penny-dreadfuls and pulps, the production quality and distribution leave something to be desired. But sometimes, those production qualities are good, and sometimes the writing is also good, but, from what I’ve seen and sampled, on the whole most indie-produced work technically isn’t as good as what’s turned out by traditional publishing.

The bottom line, as I see it, is that indie publishing offers an opportunity for writers either rejected or ignored by traditional publishers, for various reasons, and some few will likely make far more money than if they were traditionally published.

Most won’t, but even those authors who are traditionally published aren’t always able to support themselves on their writing income. I was “successfully” published in the traditional fashion for twenty years before I could support myself on my writing. Today, unlike in the past, self-publishing is practically and economically feasible, and there’s still the opportunity to carve out an income and readership for those authors not chosen by traditional publishing.

But despite the appearance of indie publishing, I don’t see the traditional publishers going away, partly because while the indie market and the traditional market overlap, they’re not exactly the same, and, besides, the market’s big enough for both.

ADDITIONAL NOTE:

I’ve been reminded that during the later part of the pulp era and most of the mass market paperback era, comic books were also a significant print entertainment forces, and, of course, now graphic novels are in the mix.