We made launched the Kickstarter with a goal of $3,000. The thought being that we would contribute half the money and the readership the other half. Plus I thought $3,000 was a reachable goal but $6,000 would be a stretch. If the funding failed, it wouldn’t be the end of the world, we could always get a small business loan or take the money out of our nest egg, but I didn’t want to have the failure around my neck like an albatross. It turns out that my fear wasn’t warranted as the generous Kickstarter supporters gave $30,857. I can’t say enough good things about the people who funded the project—more about them in the acknowledgements.
So Hollow World was going to be released, but there were still a few problems. I have had great success in the audio book world and I wanted my fans who “listen” to the book to be able to get Hollow World as well. Usually audio books are sold by the publisher as a subsidiary right (keeping 50% in the process…ouch!) but I had no publisher. Luckily my audio book publisher read and loved Hollow World (what’s that, five now?) and were willing to sign it even without a big-publisher attached. What’s more they gave me four times the money as for The Riyria Revelations and I get 100% of the royalty earned rather than splitting with a traditional publisher. Double win!
Signing the audio book rights got my wife to thinking. Our problem with traditional publishers were that they brought no added value to ebooks and took three times the money. But when it comes to print, they actually have tremendous value. They get the books in to bookstores and libraries, and their share of profits is much more reasonable than the standard division with ebooks. Plus, the rights revert much more cleanly when dealing with just print. Once all the books are sold, you are indeed “out of print” and the rights revert. What we really needed was a print-only deal.
If you’ve ever been to an online forum where self-published writers talk to one another you hear this a lot: “I’ll never sell my ebook book rights, but if a publisher wants the print rights, I’d sell those.” This is great line to throw out, but unless you are REALLY ingrained in publishing you don’t realize just how ludicrous a statement this is. Publishers don’t work this way. They know that the biggest share is going to come from ebooks and they aren’t willing to settle for just half that pie. They want it all and that means all the contracts are for combined print, ebook, and usually audio as well.
There have only been a few print-only deals, and all of them from authors with a huge number of sales. The first was Bella Andre in October 2012 (just a year ago) when Harlequin paid her seven figures. In December 2012 Hugh Howey got one from Simon & Schuster. Then in January 2013 Colleen Hoover (another huge-selling romance author) got a print-only deal from Atria (imprint of Simon & Schuster). The only other print-only deals I know about were done by Brandon Sanderson who kept the ebook rights to two novellas: The Emperor’s Soul and Legion.
The problem is that each of these authors are New York Times bestsellers. They either have sold in excess of one million books, or have exceeded 500,000 + a major film option (Hugh Howey). I’m NOT in their league. So the chance of me getting a print-only deal weren’t good.
My wife has a saying, “You never know until you try.” She knew about Laurie McLean and her new agency Foreword Literary because she represents Tee Morris and Pip Ballantine, two excellent writers who we’ve become friends with over the years. Laurie’s background is in public relations and she started Foreword with an interesting mission. The following is from her website: “We blend the tried-and-true methods of traditional publishing with the brash new opportunities engendered by digital publishing, emerging technologies, and an evolving author-agent relationship.” It sounded like exactly what we were looking for.
Robin talked to Laurie about managing the print-only, movie and foreign language rights. While two of those rights are still being worked, Laurie did land a print-only deal. Tachyon Publications, who is the same publisher who did Brandon’s print-only deal for The Emperor’s Soul will be doing a print-only deal for Hollow World. This is great because readers who love print have problems getting access to self-published titles. They are generally not in bookstores and libraries, but because Tachyon is a traditional publisher with an extensive distribution network, these hurdles will be easily jumped. They sold tens of thousands copies of Brandon’s novella, and while my name is not as big as Sanderson’s, Robin and I are going to do everything in our power to show Tachyon, and publishing in general, that more print-only deals need to be signed…and not just with the mega-sellers.
So there you have it, a little about how the book came to be. Some may find this boring, but a lot of aspiring authors should find the changes in the industry worth learning about. I do hope you enjoyed Hollow World. While it was originally written as a standalone novel I have thought about many more stories that could be told about Ellis and Pax and the world in which they live. As I said, writing Hollow World was a gamble and I’d like to be a bit smarter about any future projects in this world. So if you liked it, and want more, please drop me a line at [email protected] or better yet, take a few minutes to answer this poll. If enough people indicate they want more, I’d like nothing better than to oblige.
— Michael J. Sullivan
July 2013
Acknowledgements
Hollow World, more than any other book that I’ve written to date, is the product of many people. And to each of them I’m eternally grateful. This list is bound to be extensive, but bear with me because if you liked Hollow World, then you have these people to thank for it.
First there is Nila White, who ended up planting the seed of Hollow World when she asked me to create a short story for her anthology The End?Visions of Apocalypse. Nila did a tremendous job pulling together anchor authors and judging entries by new authors as a way of showcasing new talent. This isn’t a money-making project for her, and the anthology is often free or sometimes a measly $0.99. There are great stories in there including a fabulous one by Hugh Howey. Please give it a try.
I had an incredible group of beta readers for Hollow World including: Alexander Grevy, Algernon, Audrey Wilkinson, Bobby McDaniel, Cait M. Hakala, Caroline Reiss, Clay Ashby, Elizabeth Berndl, Gary Kempson, Greg, Heather A. McBride, Jeffrey Carr, Jeffery Miller, Libby Heily, Marc Grenier, Marcelle McCallum, Nathaniel and Sarah Kidd, Piero, Sebastian O’Sullivan, Shane Enochs, Shawn Haggard, Sheri Gestring, Simon, Stephanie Van Pelt, William Watson, and a few people who asked to remain anonymous. While I can’t call out each and every one of their contributions, they are sure to see aspects in the final book that are the direct result of their feedback. I wish every author had such conscientious and astute beta group. All of you are welcome to be my beta readers anytime.
I’d like to specifically call out Jeff Miller whose enthusiasm helped convince me of Hollow World’s value. Jeff is a fine writer in his own right (if you like well-written mystery/thrillers then check out his Bubble Gum Thief, the first in his Dagny Gray series). Jeff provided some exceptional ideas each of which improved the book.