Abstract
This article explains what hybrid publishing is, comparing it to traditional and self-publishing models. It highlights the differences between the hybrid publishing model and vanity publishing, along with other challenges that hybrid publishers face in the industry today. The article comments on Brooke Warner’s different hybrid publishing models and success stories in the sector, such as She Writes Press and RedDoor Publishing. It considers the advantages of publishing a book with a hybrid publisher from the viewpoint of a bestselling author. The new Independent Book Publishers Association (IBPA) set of criteria for hybrid publishing is also mentioned. Finally, this article talks about the possible future of hybrid publishing and how its success may be achieved.
Keywords: hybrid publishing, self-publishing, independent publishing, IBPA, challenges, alternative publishing, traditional publishing,
In a world where traditional publishing houses are overflowing with submitted manuscripts, most of which end up in the “discard pile”, and self-publishing still carries the stigma of poor quality, the hybrid publishing model could become the answer to many aspiring authors. While not new, hybrid publishing has recently gained the recognition of the Independent Book Publishers Association (IBPA) and articles arguing for its legitimacy have been published in Writer’s Digest and Publishers Weekly. However, there are still issues that could threaten its rise as an alternative publishing method. There is an ongoing disagreement in the industry on how to define hybrid publishing, a hard-to-shake association with vanity publishing, and the challenge of financial sustainability for the new companies.
In its simplest definition, hybrid is a process made by combining traditional and self-publishing values. It covers a broad range that straddles both models, sometimes being referred to as “partnership publishing” or “collaborative publishing.” It almost always requires the author paying for part of the work, while receiving higher royalties. In the more serious and respected hybrid publishing houses, the books are curated by the publisher, with the money invested by the author playing no part in the acceptance of a manuscript. As publishing industry consultant Jane Friedman (2016) said, “Not everyone who walks through the door can get published.”
The more specific definitions depend on who is asked the question. Mark Lefebvre, director of self-publishing and author relations at Kobo, calls it “an often-confusing term” (2016). He believes that hybrid publishing can refer to anything from assisted self-publishing, where an author pays a company to use their services with no vetting for the manuscript, to a more collaborative function, where there is still an investment up front but the project will be held to the standard of its traditional publishing counterparts. To add to the confusion, there is the widely-accepted term “hybrid author”, which refers to authors who both traditionally and self-publish, and has nothing to do with hybrid publishing.
Hybrid publishing’s association with vanity and self-publishing comes from the author having to put up some of their own money in the deal. In a hybrid model, this investment should always have a point of return to the author, such as higher royalty rates. The companies usually try to run the same way as a traditional publishing company and treat the authors as partners. With vanity presses, as long as the author pays the required fees, anything submitted will be published. It differs from self-publishers by having different authors under their imprint and a team that works with the author during the entire process.
Hybrid Publishing Models
Brooke Warner, co-founder of She Writes Press, identifies four main kinds of hybrid publishing: the earliest one involving traditional publishing houses, partnership publishing model, agent-assisted publishing model, and assisted self-publishing. (2016)
Traditional publishing houses have used a type of hybrid method for years, usually called “contributory contracts” or “contribution based contracts.” In this method, the manuscript still has to be approved, but makes it a lower risk option for the buyer. Mostly evident in smaller presses, this method has been deemed controversial due to its lack of transparency. As there is still prejudice against authors who pay to be published, these larger companies tend to avoid the topic.
With the partnership publishing model, a publisher gives the author access to their brand while avoiding financial risk. In this case, the author will invest the money and potentially collect the earnings or endure the consequences of a failed book.
A new trend in the industry is agents founding their own publishing companies. Here the agents will acquire the rights to books that they truly believe in, but have been rejected by traditional publishers, resulting in the search for an alternative method to publish them. A main selling point for these imprints is that the agents are prone to push for foreign sales of the work, since they will be both representing and publishing it.
Finally, the assisted self-publishing method, which falls closest to the “pay-to-play” end of the spectrum. Ultimately, the author is paying someone to assist them in publishing their book. There is no teamwork involved and some companies take advantage of the author, making this overpriced self-publishing.
IBPA Criteria
On the 20th of February 2018, the IBPA released a list of criteria to standardise hybrid publishers. This comes at a time when hybrid publishers are growing in the industry. Its goal is to “help hybrid publishers build better businesses based on clear and consistent best practices” (Langrick, 2018). It will also help with the confusion surrounding what a hybrid publisher is and its differences from vanity presses.
The document acknowledges the similarities between hybrid and other author-subsidised models, while the set of criteria differentiates it from the rest. It compares hybrid publishers to traditional publishing houses, holding both to the same standard. Quality of content, design, and production is highlighted, along with provision of distribution services and respectable sales. The IBPA also mentions that hybrid publishers must pay higher royalties, generally “over 50% of net in both print and digital books.” In comparison, standard flat royalties fall at 10% of RRP in print and 25% in e-Books.
Advantages of Working with a Hybrid Publisher
Hybrid publishers have other reasons to why an author should choose to work with them instead of going the traditional route or self-publishing. Besides the already mentioned higher royalties, another potential advantage is that some hybrid publishers allow books prolonged exposure in the market. Kristen Harnisch, bestselling author of The Vintner’s Daughter, has attributed that to her debut success, along with the opportunity to learn more about the publishing industry from her involvement with all steps of the production of the book.
Unlike traditional publishing companies, most hybrid publishers accept unsolicited manuscripts, eliminating the need for a literary agent. The author will have creative control over their product, at the same time working with an editorial team, with marketing and PR support. In the end, the author will get most of the commercial returns. The publisher benefits financially from book sales and publishing services.
The more successful and respected hybrid publishers have different types of vetting systems for choosing which books to work on. SWP only publishes books for, by, and about women, and charges a set fee for their services, including e-Book publishing, distribution, and proofreading. Fiction publisher Evolve does not have an up-front fee, but offers different services that can be paid for, such as editing and cover art. Other publishers have even more unusual approaches, EverAfter brings successful self-published romance e-book authors to print. Inkshares works with crowdfunding, its authors don’t have to pay any fees but will only be published when they hit 250 preorders.
In the United Kingdom, the leading example of hybrid publishing is RedDoor Publishing. Its founder is Clare Christian, whose experience in non-traditional publishing methods includes co-founding The Friday Project—a HarperCollins’ imprint which focused on finding material online and turning it into traditional books. She came up with the idea for RedDoor while working as a consultant, where she met many authors who turned to self-publishing after failing to sign a traditional publishing deal.
“By commissioning in exactly the same way that we did when working for traditional publishers and by applying the same production values… we felt we could offer talented authors the ability to self-publish in a way that would be credible in the publishing industry.” (Christian, 2016)
However, there are challenges that could translate into trouble in the near future. Small startups and emerging companies have difficulty with maintaining financial sustainability without compromising their work or rising costs in their services (Friedman, 2016). Just as any small publisher, these companies depend on the success of their early works, so they can get through to a more stable path in the future. This is where acquisition could play a major role, as big publishing houses have more financial freedom to support new ventures and take risks.
Future of Hybrid Publishing
The future of hybrid publishing is not yet set in stone. There is potential for growth and many companies and startups are taking advantage of that, by establishing themselves in the hybrid publishing market. Some argue that the future of the sector lies in acquisition, where the hybrid company would work as a division in a big publishing house. In this scenario, the authors benefit from the support of a well-known publisher, while the scope of the publisher would result in a more profitable model for both parties (Christian, 2016).
Overall, hybrid publishing has proven its place in the current industry. “Hybrid publishers provide a good and important alternative for authors today, they fill a demand for authors that neither traditional publishers nor self-publishing services currently meet.” (Rasenberger, 2018). If continuing on its path of growth, it is safe to say that hybrid publishing will provide a great alternative to the usual ways of the industry.
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