I've been an active participant in one or more
writers' groups for over ten years because I think the benefit on both
"sides" of the roundtable is worth the time and effort involved with
submitting my work for review and reviewing the work of other writers.
During that decade, the publishing industry has
entered a period of upheaval in which the gatekeepers of the legacy monopoly
have lost their stranglehold on printing and distribution. The eBook and
advances in print-on-demand technology have altered the landscape forever as
indie publishing sheds the unsavory implication of vanity and proves that
quality is not the exclusive purview of legacy.
Although I was late to the party, I have an excuse.
Eighteen months ago, Amanda Hocking and Barry Eisler had not yet made the
publishing news headlines. But once they did, and in the same week, the rate of
change in the industry accelerated out of control. It seems as if something
noteworthy is occurring every day. Keeping up with it could be a full-time job,
and most writers already have one of those that unfortunately doesn't involve
writing.
In April,
2011, one active member of the Novel-In-Progress (NIP) Group of Austin had
begun the trek into the unknown wilds of indie publishing. As of today, six
more have joined her with about 20 titles among the group, and it's obvious
that the previous emphasis on submitting material to legacy publishers through
literary-agent gatekeepers no longer reflects the new reality of indie
publishing.
This last week I assumed NIP moderator duties, and to
use an imperfect anology, the transition feels a bit like that of a new CEO
facing a period of declining revenues. Attendance and roundtable submissions
are both down at a time when it seems that the relevance of writers' groups
should be on the rise. Indie publishing offers a realistic option to the
current tumultuous environment of legacy, and for those writers who have not
yet considered it, the collective experience of fellow group members is a
valuable resource.
Looking ahead to the future of NIP, I fully realize
that my role as moderator endows me with no more power than that of an
arbitrator or mediator. The group belongs to the members and should reflect
their common objectives.
How can the group best serve those who are actively
submitting as well as those who are not, or those who have embraced indie and
those who still seek a legacy publisher? These are questions I feel need to be
addressed as the year comes to a close with the last three roundtable meetings
prior to the holidays.
A bit of math illustrates the core issue, that of the
time available to engage with other writers exploring the craft, and in the new
era, how to think like a publisher.
NIP meets twice a month with the exception of Easter
weekend and the holiday season in December. That's no more than 21 two-hour
meetings, each of which at best provides 1:30 of rountable and what we call
free-for-all discussion. The rest is devoted to our "icebreaker"
question, announcements, passing out the submission for the next meeting and
any shorter "probes." This equates to less than 32 hours per year to
engage with other writers. Compared with the hours any active writer spends in
the solitary world of the creative fictive dream, that's not a lot.
Time will tell whether the group is satisfied with the
status quo or wants to explore ways to enhance our vitality, relevance, and
possibly even our ultimate longevity.
Tosh is the author of the aviation mystery/thriller Pilot Error, the second-in-series Red Line (Fall 2012), and two
non-fiction series: Book One of Wings On
My Words, tales from the writer's desk, and Book One of Words On My Wings, tales from the cockpit.
Visit him online at toshmcintosh.com.
