Suw Charman-Anderson, in Forbes, notes a watershed moment in the world of books and readers. For the first time, a book self-published by its author has broken through traditional barriers and gained the attention of important establishment book reviews.
[T]his week, the New York Times, one of the most important source of book reviews, published a long and enthusiastic review of a self-published book, Alan Sepinwallâ€™s The Revolution Was Televised. Based on his TV criticism blog, Whatâ€™s Alan Watching, Sepinwallâ€™s book:
analyzes a dozen â€œgreat millennial dramasâ€ that have forged a new golden age in TV: bold, innovative shows that have pushed the boundaries of storytelling, mixed high and low culture, and demonstrated that the small screen could be an ideal medium for writers and directors eager to create complex, challenging narratives with â€œmoral shades of gray.â€
But the New York Timesâ€™ Michiko Kakutani wasnâ€™t the only mainstream book critic to write about Sepinwallâ€™s book. USA Today carried an interview with Sepinwell at the end of November, Time published a review of its own, The Huffington Post carried a review, so did the New Yorker.
Sepinwall got the kind of coverage that most traditionally published authors can only dream of. To some extent, this might just be reviewers reviewing another reviewer, a little bit of moral support from your friends, except Sepinwallâ€™s friends have very big megaphones. But at the same time, it illustrates that the idea of a division between â€˜traditionally publishedâ€™ and â€˜self-publishedâ€™ is becoming a ridiculous construct with no meaning whatsoever. …
The reasons that self-published books donâ€™t get reviewed boil down, I think, to the lack of infrastructure. A traditional publishing company can get to know different reviewers and send them the books that they think will go down best with that person. And the reviewer works on the assumption that what he or she is sent by the publisher has to be at least half-decent and thus worth opening. This whole process works because itâ€™s mediated and because of the assumption that a third party stamp of approval for a book guarantees minimum levels of quality. …
[R]eviewers depend on publishers acting as winnowers, sorting out the wheat from the chaff, and at least attempting to make sure that they are sent books they are actually interested in. Itâ€™s this weeding out process thatâ€™s missing in self-publishing.
This is bound to be only the first instance of what will before very long become normal.
Technology has made self publication and book distribution easy, inexpensive, and available to anyone.
Even successful and well-established popular authors like Barry Eisler as far back as 2011 have found the economics and creative control offered by self publishing to be irresistible. (Eisler was interviewed here about his at-the-time astonishing decision to dump his relatively prestigious print publisher and move off into the new frontier of electronic self publication.)