Self-Publishing Insights from Children's Book Authors

The rise of self-publishing has caused many authors, particularly in children’s literature, to explore independent routes. Mehta speaks with Zetta Elliott, Brent Hartinger, Cheryl Klein, and Stephen Mooser, who have all navigated both traditional and self-publishing.

Zetta Elliott shared that rejection from the traditional publishing industry prompted her to self-publish her books, despite her prior success with Lee & Low. She noted the significant underrepresentation of Black creators in children's literature, highlighting that self-publishing has offered authors of color a path to share their stories.

Brent Hartinger, motivated by his publisher's failure to distribute ebook editions, reclaimed his rights and successfully continued his series through self-publishing. He found financial success, especially in a market that was just beginning to grow.

Cheryl Klein, already embedded in traditional publishing, utilized Kickstarter to self-publish a collection of material she had shared previously online. This allowed her to gauge audience interest and fund her project effectively.

Stephen Mooser faced difficulty placing his middle-grade book with traditional publishers, deciding to self-publish after consistent rejections. He expressed a personal attachment to his book and a desire to connect with an audience.

Each author discussed their approaches to book creation, hiring external help, and marketing. Elliott collaborates with illustrators and promotes her work mainly through word of mouth and social media. Hartinger employed freelance professionals for editing and cover design and emphasized the importance of engaging with his fan base. Klein acknowledged the role of professional design support in the publication of her book, while Mooser utilized creative promotional efforts like online interactive experiences based on his book.

Discussing distribution, Elliott noted that her primary sales come from Amazon, while Hartinger has successfully entered libraries through his established reputation. Klein reflected on her regret for not developing a direct sales platform early on, and Mooser has utilized print-on-demand services.

The authors shared insights on the future of self-published children's books. Elliott believes that success among marginalized writers will increase as the acceptance of self-published works grows, while Hartinger noted that the market remains challenging for genres outside popular trends. Klein voiced concerns about the difficulties self-published children's books face in distribution and marketing.

In terms of stigma, Elliott pointed out that while the quality of self-published books is improving, biases in the industry persist. Hartinger and Mooser acknowledged that some stigma remains, but have noticed a shift in acceptance over the years.

Finally, the authors offered advice for new self-publishers. Elliott encouraged clarity in goals, Hartinger warned against venturing into uncertain territories without established audiences, and Kleins suggested creating a marketing plan early. Mooser stressed the importance of a comprehensive marketing strategy to ensure success.

The collective experiences illustrate the intricate balance of self-publishing within children's literature, emphasizing both the possibilities and challenges it presents.