Not long ago, I messaged a horror fiction “gatekeeper” to thank them for their work and to ask if they’d be open to reading more indie horror authors. They responded by listing a few well-known names they were promoting, including one whose “Big 4” published novel had years ago been made into a popular Hollywood movie. And then basically told me that all good writers eventually become famous, which is when this person will read and share their work.
As an author, editor, small press publisher, and reader, everything I write about horror fiction is a conflict of interest. That being said, I also have the privilege of seeing the landscape from a variety of perspectives. On top of that, I’ve interviewed scores of writers, followed their careers, and listened to podcast after podcast with some of the biggest names in the genre. The one thing most of them have in common? They were thinking about giving up until that one big break.
After years of processing this information, I believe I’ve come up with the essential elements for getting one’s horror book published and selling. I call them the three “CONS,” as in: CONTENT, CONTACTS, AND CONTEXT.
On episode #34 of Josh’s Worst Nightmare Oddcast, host Josh Schlossberg gets artsy with Don Noble, freelance artist and co-owner of Rooster Republic Press, as they gaze at the wonders of illustrating biological horror.
“What else is new?” some of you might be asking. In that case: It’s turning me into MORE of one!
Here’s why: It’s the only way to get my shit out there. Allow me to explain.
I happen to have been blessed with an excellent and generous publisher, D&T Publishing. Despite being a small press, D&T has done more to promote my debut cosmic folk horror novella, MALINAE, than the “Big Four” presses do for most of their authors. For that I am eternally grateful and, indeed, it’s the main reason the book has gotten out there as much as it already has, which is quite a bit.
However, in the sales world, we all know that a tiny percentage of products get the vast majority of buys. Take Coca Cola for instance, which snags half of the soda sales in the U.S. Is Coke really the best carbonated sugar water in the country? Not even close (not counting its cocaine-laced days, of course)! Hell, I’ve probably drank fifty different small batch colas better tasting and less horrible for you than Coke. But you’ve only heard of a few of them, and barely, at that. Because it’s not just about the product—which does have to be adequate—it’s about the marketing.
Let’s take this into the horror world. Stephen King alone gets the vast majority of horror fiction reads. Now, before going any further, I’m not here to shit on “the King.” I cut my literary teeth on the man and found him formative in my teens. Today, I still enjoy many of his stories and novels and think he’s a formidable storyteller.
But is he the best horror author in the world, the way sales suggest? Not even close! Hell, I’ve probably read at least fifty horror authors who are better writers and storytellers than him. But you’ve only heard of a few of them, and barely, at that. Because it’s not just about the product—which does have to be adequate—it’s about the marketing.
So what’s my point? That people should stop drinking Coke and reading King?
Of course not. Simply that the playing field is far from level, and we authors don’t have the luxury of simply writing good books and expecting them to fly magically into the hands of readers.