{"id":696,"date":"2025-03-06T15:45:00","date_gmt":"2025-03-06T15:45:00","guid":{"rendered":"https:\/\/lawrencenault.me\/journal\/2025\/03\/06\/two-decades-of-self-publishing-how-my-approach-has-changed\/"},"modified":"2026-07-12T22:51:13","modified_gmt":"2026-07-12T22:51:13","slug":"two-decades-of-self-publishing-how-my-approach-has-changed","status":"publish","type":"post","link":"https:\/\/lawrencenault.me\/journal\/2025\/03\/06\/two-decades-of-self-publishing-how-my-approach-has-changed\/","title":{"rendered":"Two Decades of Self-Publishing: How My Approach Has Changed"},"content":{"rendered":"

 “Through writing, I strive to transport readers to
\nanother world, to merge their mind and heart with another being, to inspire,
\nmotivate, and deepen understanding. To earn my place in this world by living
\nmodestly through this work alone\u2014this is my dream, my goal, and my honor.”
\n\u2013 Lawrence Nault<\/p>\n

If you have seen the documentary \u201cEchoes of a Hermit<\/a>\u201d then you already know writing has always been a part of my life. That
\ncombined with necessity and perhaps some need to control my own work is what
\nled to me entering the world of what is more commonly known as indie
\npublishing. Nearly 20 years ago, I took my first steps into self-publishing. I
\nwanted to get my stories out into the world, and I didn\u2019t see anything
\npublishers were doing that I couldn\u2019t do myself. I started with children\u2019s
\nbooks (Squirrel Tales, Wolf Tales, and Bear tales, later expanded to a YA
\nsci-fi (Loma \u2013 A MacIver Kids Adventure),  and eventually wrote political fiction
\n(Jubilee). At the time, self-publishing was not new, but services like KDP and
\nprint-on-demand (POD) were just starting. <\/span><\/p>\n

When I started self-publishing nearly 20 years ago, the term \u2018indie author\u2019
\nwas barely recognized. Today, it’s so established that even traditional
\npublishers are trying to co-opt it. But while opportunities have expanded, so
\nhave the challenges.<\/p>\n

As a Canadian author, early self-publishing
\ncame with extra hurdles. Many services catered primarily to U.S. authors and
\nmerchants, and I still had to rely on traditional practices\u2014printing books in
\nbulk, handling distribution myself\u2014until KDP and POD became viable options for
\nCanadian writers.<\/span><\/p>\n

Much has changed since then. Some changes have
\nbeen for the better, making publishing more accessible. Others have made it
\nharder than ever to succeed as an indie author. Here\u2019s how my approach has
\nevolved and why self-publishing remains both a powerful tool and a difficult
\npath.<\/span><\/p>\n

The Biggest
\nChange: Book Promotion<\/span><\/b><\/p>\n

When I first started, book promotion was
\nstraightforward. If you had a website with decent SEO, readers could find you.
\nBBS forums and chat rooms allowed for organic buzz-building, and you could
\ndirectly interact with niche audiences. There were no algorithms to fight, no
\nconstant need for paid ads, and no influencer-driven marketing models.<\/span><\/p>\n

Today, that landscape is almost
\nunrecognizable. Websites alone won\u2019t drive sales. Social media dominates book
\nmarketing, but platforms control visibility through shifting algorithms that
\nprioritize controversy and engagement over genuine discovery. Instead of forums
\nwhere authors could build word-of-mouth success, we now navigate a fragmented
\ndigital space where visibility often depends on spending money on ads or
\ninfluencer promotions.<\/span><\/p>\n

Indie authors have also had to adjust to the
\nchanging nature of ebook sales. I was an early supporter of ebooks, but back
\nthen, the format lacked security and mainstream acceptance. Now, ebooks are
\nwidely embraced, yet ironically, the ease of digital distribution has led to an
\noversaturated market, making it harder for any one book to stand out.<\/span><\/p>\n

Print-on-Demand:
\nA Practical but Imperfect Solution<\/span><\/b><\/p>\n

In my early self-publishing days, I printed
\nlarge quantities of books upfront\u2014an expensive and risky investment. Today, I
\nrely on POD, which is far more efficient. It allows readers to get physical
\ncopies without me holding inventory.<\/span><\/p>\n

But while I appreciate the ability to offer
\nprint books, I\u2019d prefer readers to download ebooks from an environmental
\nstandpoint. The love of holding a \u201creal book\u201d (which I can relate to) is
\nunderstandable, but POD, though better than bulk printing, still contributes to
\nwaste. POD also has delay component that frustrates a consumer market
\nincreasingly expecting immediate fulfillment.<\/span><\/p>\n

One of the
\nways I try to mitigate the environmental impact of printed books is by
\nincluding this<\/span><\/p>\n

<\/span>Reading Community Notice<\/b>:<\/p>\n

Upon completion of
\nthis printed edition, readers are welcome to participate in book-sharing
\ninitiatives such as Little Free Libraries\u00ae or BookCrossing\u00ae, provided the book
\nremains in its complete and original form.<\/i><\/p>\n

I <\/span>personally believe that, unless you are a library that shares your books, leaving books on shelves for years, collecting dust, is cruel and unusual punishment to the characters and stories in those books. Set them free. Release them to the wild.<\/span><\/p>\n

 <\/span><\/p>\n

The
\nChanging Perception of Indie Publishing<\/span><\/b><\/p>\n

One of the biggest myths is that the
\nperception of self-publishing has drastically improved. While there was a
\nperiod where indie publishing gained legitimacy, that perception has eroded
\nagain\u2014though for different reasons than before.<\/span><\/p>\n

When I first started, self-published books
\nwere widely viewed as lower quality compared to traditionally published books.
\nThat stigma has never fully disappeared, but for a while, indie authors pushed
\nback by improving editing, design, and overall professionalism. The term
\n“indie publishing” emerged as a way to distance serious
\nself-published authors from amateur vanity publishing.<\/span><\/p>\n

Then, traditional publishers saw indie
\npublishing as a threat. They leveraged their influence to keep self-published
\nbooks out of major retail spaces and reinforced the notion that indie books
\nlacked quality. Meanwhile, as technology made self-publishing easier, the sheer
\nvolume of new books exploded, creating a race to the bottom. Many authors
\nturned to extreme pricing tactics (99-cent books, permafree) to attract
\nattention, further devaluing indie work in the eyes of readers.<\/span><\/p>\n

Ironically, indie publishing has gained so much ground that
\nat least one of the Big Five publishers now markets an imprint as supporting
\nindie authors\u2014despite being a traditional publisher. This deliberate blurring
\nof the lines makes it harder for true indie authors to stand out. Readers may
\nassume ‘indie’ still means independent, when in reality, corporate publishers
\nare now using the term as a marketing tool. This shift presents yet another
\nchallenge: as the definition of indie becomes murky, self-published authors may
\nstruggle even more for recognition.<\/span><\/p>\n

Another big change is that indie publishing is
\nnot just competitive\u2014it\u2019s predatory. Instead of just fighting for reader
\nattention, authors must also navigate a minefield of marketing schemes,
\npay-to-play promotions, and services that promise visibility but deliver
\nlittle. Many books today see more distribution through beta readers and ARC
\ngiveaways than they ever do in actual sales.<\/span><\/p>\n

Why Social
\nMedia Has Made Publishing More Toxic<\/span><\/b><\/p>\n

The most difficult part of returning to
\nself-publishing has been the state of social media. This isn\u2019t unique to indie
\npublishing, but it has profoundly affected how authors engage with readers and
\neach other.<\/span><\/p>\n

Social media is no longer just a place for
\ndiscussion\u2014it\u2019s a battleground. Personal opinion quickly turns into cancel
\nculture, which in turn leads to censorship. The most toxic statements get the
\nmost traction, and outrage is weaponized. For indie authors, this is a
\ndouble-edged sword.<\/span><\/p>\n

There was a time when social media rewarded
\norganic reach\u2014if you had followers, they saw your posts. That\u2019s no longer the
\ncase. Platforms now prioritize monetization for themselves, not creators. Feeds
\nare no longer chronological, and algorithms force authors into \u2018author
\nbubbles,\u2019 limiting their ability to reach potential readers. Worse, content can
\nbe throttled not just based on engagement but on whether it aligns with the
\nplatform\u2019s political stance or if targeted complaints are made. In a system like
\nthis, visibility is no longer about merit\u2014it\u2019s about navigating ever-changing
\nrules that work against independent creators.<\/span><\/p>\n

One of the greatest strengths of
\nself-publishing is that it allows authors to explore topics that traditional
\npublishers won\u2019t touch. It gives voice to niche stories, controversial
\nsubjects, and perspectives that might otherwise be ignored. But the same independence
\nthat allows for creative freedom also makes indie authors vulnerable to harsh,
\njudgmental criticism.<\/span><\/p>\n

Traditionally published authors have the
\nbacking of a publisher\u2019s PR team if controversy arises. Indie authors, however,
\nare on their own. If an indie author writes about a sensitive or politically
\ncharged topic, they risk not just criticism but targeted harassment or
\ndeplatforming. The line between critique and censorship has blurred, and indie
\nauthors are often the easiest targets.<\/span><\/p>\n

Treating
\nPublishing Like a Business<\/span><\/b><\/p>\n

Despite all these challenges, my approach to
\npublishing remains much the same as when I started. I want to live off my words
\nand works, and I want them to have a social and personal impact. That doesn\u2019t
\nmean being a bestseller\u2014it means making enough to put food on the table and a
\nroof over my head. To do that, I treat publishing like a business.<\/span><\/p>\n

I reinvest book earnings into promotion, but I
\ndon\u2019t spend more than I make. I bootstrap everything, balancing time and money
\nto keep moving forward. And I accept that marketing, whether paid or organic,
\nis essential. The difference today is that I carefully choose promotional
\nopportunities that align with my strengths\u2014I avoid video-heavy promotion and
\nlarge crowds, focusing instead on strategies that work for me.<\/span><\/p>\n

Advice for
\nNew Indie Authors<\/span><\/b><\/p>\n

If you\u2019re considering self-publishing, my
\nadvice is simple: go in with your eyes wide open.<\/b> Indie publishing is
\nnot a get-rich-quick scheme, and for most, it\u2019s not even a break-even scheme.<\/span><\/p>\n