T.J. Newman’s debut novel, “Falling,” garnered a big advance and a movie deal. But the former flight attendant might have flown even higher had she self published.
T.J. Newman is living the dream of nearly every author.
Her debut novel, Falling, is currently the #2 best-seller in hardcover fiction, and #3 in the combined print and eBook category on the Times bestseller list. Simon & Schuster imprint, Avid, paid her seven figures as part of a two-book deal.
Foreign rights have now been sold in 24 territories, and Universal Pictures snapped up the film rights in a bidding war. In industry reviews published for the launch, the king of fiction, James Patterson, said, “Falling is the best kind of thriller… Nonstop, totally authentic suspense.”
Falling is the biggest break-out book of the last three years. Most authors would be thrilled with any of the above. And yet, it could have been much more lucrative for Newman. And much faster. When you look back on Newman’s journey to success, you can see the steps — and missteps — she took in getting Falling published.
She should have self-published
My biggest takeaway is this: T.J. Newman made a huge mistake by going the traditional publishing route. She should have self-published — and she’s going to regret that decision for a long time.
This thesis might sound like sour grapes coming from the president of a self-publishing company. But I don’t make the point because she didn’t choose BookBaby. She could have — SHOULD HAVE — chosen any of a dozen companies to get her manuscript to the marketplace.
T.J. Newman’s rise to literary fame is as steep as an airplane soaring up to 35,000 feet. Falling is the story of a commercial pilot whose kidnapped family will only be saved if he crashes a plane full of people. The story takes place on a red-eye flight from Los Angeles to New York, a familiar place for Newman. She spent 10 years as a flight attendant on these routes and has said the inspiration for the story came to her while she was aloft.
“I’m looking out at the passengers who are all asleep … and I have this thought that their lives, my life, my crewmates’ lives, were all in the hands of the pilots,” Newman told NPR in a recent interview. “It was the first time that I thought: With that much power and responsibility, how vulnerable does that make a commercial pilot?”
Newman wrote the first draft of her book while the Virgin Air passengers were sleeping on those long cross-country night flights, using hotel pens to sketch scenes on in-flight cocktail napkins and passenger manifests before typing them up on layovers.
Outdated intel
After dozens of drafts, she completed her manuscript in 2017. Then, she made what I believe is the biggest mistake of her young writing career: She bought a copy of The Essential Guide to Getting Your Book Published, by Arielle Eckstut and David Henry Sterry, and consumed it cover to cover. She ripped out sections of the book to take with her so she wouldn’t have to tote the whole volume. “I didn’t know anyone, I didn’t have any connections,” she said. “I researched each step along the way,” she told the New York Times.
Now, I have nothing against Eckstut’s and Sterry’s excellent book. In its day, I’m sure it helped many aspiring authors. But that book was published in 2010 — in the very early days of self-publishing. The publishing industry has changed completely those seven years. The guidance Newman received in 2017 was completely out of date with emerging technologies and opportunities. She should have consulted a few of the hundreds of up-to-date books on the subject (mine, for example) and built a game plan that would better fit today’s publishing landscape.
What happened next was predictable. Over the next few years, Newman wrote dozens of letters to agents and publishers to pitch Falling. She received 41 rejection letters from agents all over the world. Time dragged until the 42nd agent, Shane Salerno, took a chance. Eventually, the book was pitched to Avid and finally – FINALLY – Newman was on her way.
Flight delays
By going the traditional publishing route, Newman has lost out in many ways. Some she might have already experienced. Others she’ll learn over time. These include:
Control of her writing. When you work with a traditional publisher, you don’t just sell them your manuscript, you sell them your ideas and concepts. Your book may evolve into something you are not comfortable with. Or, your dreams for a sequel or a revision may be completely squandered if it does not comply with the motives of the traditional publisher. You also have little to say about the design of the interior or the cover.
As an independent, self-published author, you retain total creative control. You are free to be expressive with your work. You are free to be vulnerable and controversial. You are free to be you.
Wasted time. By taking her book through the traditional publishing route, Newman wasted prime years of her early writing career. She could have self-published her book four years ago and be well on the way to publishing her third or fourth book. Today’s self-publishing world allows authors to take a finished, edited manuscript to the marketplace in a matter of weeks.
It took Newman years to just find an agent. While Salerno was able to make a relatively quick pitch for Falling, it’s usually another six months for you to even hear back about the book proposal. Assuming they accept your proposal, it will take at least another year before the book is actually published.
Besides the extended timeline, going the traditional route is now a real risk. What if Newman had given up after rejection letter number 41? Self-publishing is a sure thing for authors with the energy and ambition to see it through.
Wasted Money. A seven-figure advance for a couple of books does sound nice. Traditionally published authors are typically paid an amount of money up front. However, once the sales come rolling in, they only get a small cut of the earnings. Why? Because they must pay the publishing house, the editor, the marketers, the designers, etc. Also, the prime real estate space in New York City and all the perks that go along with the publishing world.
Newman could have fronted her self-publishing effort — from editing and production to distribution and marketing — for under $10,000 to start. Most of that startup money would be spent on hiring a publicist to do exactly the same thing traditional publishers do – including working media contacts and setting up interviews, etc. Her story is so unique that it doesn’t require the publishing trade’s marketing machine to generate a huge author platform. Her book would have been in every brick-and-mortar shop, along with all the online platforms like Amazon, etc.
Here’s where it’s really going to cost Newman today and tomorrow: With Simon & Schuster, she will only receive a 10 to 12 percent royalty. If she had self published through BookBaby, her earnings would be much higher. She could have made 50 percent royalties on her print sales, and up to 85 percent on her eBook sales.
Given her current best-selling status, that could have been multiple seven-digit checks for Newman — and that’s just for her first book!
Self-publishing is – actually – the safer route
The scenario I’ve suggested has played out many times over the past few years. Andy Weir (The Martian) is the best example of an indie best-seller that became a hit movie.
When people ask me my views on traditional vs. self-publishing, I try to present all of the pros and cons. But now, 10+ years into this new era of book publishing, it’s even more obvious what route people should choose. Even if you happen to win the “book lottery” and find an agent and get published, there’s no guarantee your publisher’s efforts will get your work in bookstores. There’s also no guarantee in sales volume.
Self-publishing gives you an alternate path. It gives you an assured chance of getting your book out there. You have a better chance of seeing success in your sales and making an impact if your message resonates with enough people. You also retain all control and allows you to stay true to the vision of your book(s).
I plan to pick up a copy of Falling soon (though NOT as I’m boarding an airplane). And while I’m sure I’ll enjoy this story and Newman’s future books, I’ll always wonder: What if she went indie?
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Thank you for all who commented. It’s been a true eye opener.
Self-serving. The chances of receiving much attention by self-publishing is negligible. The only people who make money are folks like Spatz who promote self-publishing. It’s a racket. If you’re lucky enough to find an agent and mainstream publisher take the money and run. Only self-publish if you have no other choice.
You’ve missed the point that she probably wouldn’t have got all those foreign rights deals and the film option if she had self-published. It’s the trad publisher or agent who negotiates those and, unless you have a specialised agent or useful contacts, it’s extremely difficult for a self-published author to make that sort of deal. Also, it’s high volume sales that attract rights buyers and you rarely get those if you are self-published because the economics of print-on-demand prevent you offering high-volume discounts.
I’ve self-published and been traditionally published. There is a place for both but which is best depends on the type of book you’ve written. For a mass market paperback like this, I am sure she made the right choice.
How many self-published authors have made 7 figures? Or even authors at traditional houses? Even with the latter it must be normally 5 figures or at the most 6 figures. If she had gone the self-publishing route it’s possible if she wasn’t a good self marketer that she might not even gotten her investment back. The case for self-publishing would have been stronger if the writer had picked an author who didn’t make money from an established publishing house. As it is most people who self-publish, especially if they put up to10,000.00 into it, are bound to lose money.
I’m confused as to what evidence you have that she would have been better off is she self-published her book. She has a 7 figure advance. That is over $1million for one book, her first book. Name one self-published author who can match that… ‘sound of crickets’… Thought so. She has a film deal. How many self-published authors have film deals? Presumably she will get a large % of the very large sum the film option cost, plus a % of the profits if the film is made. How many self-published authors can match that? Her sales will rocket if the film is made and released. Option rights are non-returnable even if the film is never made. Her next book will also guarantee to be a best-seller and given the film option was auctioned due to massive interest I expect the second book will be optioned too. I see no evidence whatsoever of any Indie author repeating anywhere near that kind of success.
If she wants to be Indie she could do it later, safe in the knowledge that the tens of millions of dollars she will have in the bank will tide her over if her Indie books don’t sell.
I’ve gone both ways–including two books via BookBaby and a NY Times best-seller via the traditional route. Have to say there was little chance Newman’s book would be a best-seller without the media attention generated by the publisher’s marketing machine.
When my first book came out of contract I switched to self publishing. And I have been thinking of continuing that route. I have a pretty marketable book. I have looked at Book Baby and I also know how to publish on my own on Amazon. However I like the quality of books bookbaby produces. 10,000 is a big ticket price. However I’d like to know what comes with that price?
This is totally misleading.. Had she self-published, she’d have sold a handful of books and wouldn’t have had anyone to shop it around to get all those ancillary sales. With S&S behind her, she’s make millions (and she wouldn’t have to pay for it.
I enjoyed your comparison of traditional vs. self-publishing of TJ Newman’s book. However, I believe there’s a missing piece. Had she self-published, and assuming that she may be busy in her job and not particularly skilled in marketing in general and social media in particular, how would the world discover her book? Her publisher’s marketing staff, plus ability to get the book into book stores and reviews into major newspapers, are impossible to match by a lone self-published author. At least, that has been my experience.
Hmm r u a published author? I would so love a major publisher house to pick up my self published book So how many self published books have exceeded sales and on new york times best seller list please id like to know that. Meanwhile im thinking to choose bookbaby for my sequel to The Adventures of Woodsboy published by balboa
Nice article. I certainly see the self-publishing advantages. But what marketing ingredients helped make the book so successful? Was the author already well-connected? Were there marketing techniques and tools exclusive or just available to traditional publishing that are hard to replicate with self-publishing, such as mass media relationships?
Very informative and eye-opening article about self-publishing pro’s & con’s. I need assistance and guidance with my project in this regard, can you please advise on the next steps to follow?
Thank you for this. As a BookBaby author myself, I’m reassured by what you wrote, and glad you took the time to explain each point.
I really appreciate you sharing Ms. Newman’s story, but in your scenario of how she’d have been better off self-publishing, you gloss over two things: first, you say she could have marketed the book for $10,000. What if she didn’t HAVE $10,000? I’m guessing that very few of us aspiring authors do. And second, you don’t talk about the advantages of having a major publishing house backing your book: getting it into bookstores, into retail outlets, and overseeing the entire ordeal of marketing. Speaking for myself, that’s where I’m finding the biggest challenge: how to tell the world I’m here!
I would rather go with a traditional publisher. I don’t want to mess with all that is involved in self publishing.
There are two reasons why I have not self-published so far. One is the up-front investment of US$10,000+. The second, and perhaps more valid, is that I have zero interest in the sales and marketing aspect of writing. I probably donate as many books as I sell through Amazon.
Currently, my publisher is also my editor, cover and page designer and everything else but the author, and we have known each other for ten years. I don’t crave book sales to validate my worth as a writer, but I would like it if many more people read what lies within the covers. I don’t even care much if I don’t earn a cent from sales. “I’m glad you enjoyed it,” is payment enough.
I am nearer to eighty than seventy, and, to judge from my waistline, relatively comfortable and middle class. My fourth book, my second novel, comes out in August. I hope I shall be able to say, “I’m glad you enjoyed it,” to a few more people. If only someone or some organization would take the sales and marketing aspect from me, I might be prepared to “invest” the up-front costs on a risk sharing venture. With self-publishing, however, both barrels seem to point at the writer. Am I wrong?
Regards,
Michael Joll
Author of:
“Perfect Execution & Other Stories”
“Persons of Interest”
“A Time To Love and a Time To Die “
“Gabrielle” (coming out in August, 2021)
I think it’s fair to say that in an ideal world, with enough finances behind you, it’s possible she might have achieved far more as an indie author. However, for most writers, there is not an infinite pot of money at their disposal, and just because she has a best seller with a publisher, who has clearly done all they can to achieve that status (marketing etc) there’s no way of determining that she would have been a best seller as an indie author, or made anywhere near that 7 figure advance. We’re talking a million plus. Highly doubtful, especially as a new writer typically inexperienced in marketing. As for reputation, she’s riding high with a traditional publisher, so I doubt she’ll regret it anytime soon. I’m all for indie publishing, but it’s a tough business and one needs to spend money and write a lot of books fairly speedily in order to make a living never mind a goldmine.
Fabulous insight into the publishing world! Thank you for all you do to help indie authors get published. I have a link to your blog on my website but would like to give this particular blog it’s own link. Okay?
This blog post is entirely disingenuous. I’m pretty certain any self-publishing author would trade places with T.J. Newman in a heartbeat. She’s the dream every author wants to experience. There’s NO way she would’ve reached where she was if it wasn’t for her unique journey of efforts.
It’s so easy to lean back and quarterback from an armchair and play “would’ve could’ve should’ve.” I guarantee the tally of every BookBaby author’s revenue combined doesn’t come near what T.J. Newman has made in book sales alone. Steven Spatz can spin this any way he likes because it’s what business men do, but it’s clickbait reading.
Self-publishing was born out of a business idea to circumvent the gatekeepers of book publishing. And it has opened up an entire booming industry. The fact remains, self-publishing companies like BookBaby make more money than authors. Sure, authors get what they “want” (to be published) but that isn’t the entire truth. Authors want to be read more than anything. Publishing is just a beginning.
Steven Spatz wants to take an extraordinary story of an author (a rarity) and position his company’s services as way to achieve similar success? You can’t be serious. Talk about gaslighting self-publishing authors.
I totally agree. Her novel would be languishing in the no-man’s land of self-publishing right now. She would not be in every single newspaper and online journal and she certainly would not be sitting on a massive advance or a movie deal. This would only be good advice if she was already a huge author and had a massive platform.