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Why self-publishing is not the best future you can give your book

There are good reasons to publish your book the old-fashioned away, even if it tests your patience and fortitude.

I was twenty, a naïve college student, when I decided that my writing ought to have an audience. After all, I was a writer, or wanted to be one at the very least. So I did what most aspirational writers did – I submitted a few stories and poems to magazines and got stoic rejections back, one after the other. I wept and wallowed with a dramatic lack of self-worth only the early 20s can render.

Then one day I saw a friendly email from a poetry publisher. They liked my poetry and they would publish them in an anthology. All my friends and family could have a copy too, and for just $ 40 I could get 10 copies and possibly convince other friends to buy it as well.

Sounded dandy to me. This was my first introduction to the vanity press – basically the cheap-cigarette-smoking version of legitimate publishing. These publishers target desperate or wannabe writers and tell them that their stuff can get published. All they have to do is pay for their copies, and voilà! you are a published author.

I’m not going to be a wet towel and totally hate on self-publishing, but I am going to heavily critique a nation that has lost its appreciation for good writing and the suffering that goes with it. I am going to talk about a nation that has too many talking heads and people who think that what they have to say (never mind their lack of craft, hard work, or tragic personal reading habits) should be published.

Here is the truth. Well, at least my version of the truth. Three points about self-publishing you should consider as a reader, writer, or a well-wisher of the nation’s steady intellectual growth.

The vanity press is raging and disguised as a well-wisher

The self-publishing venture Partridge Publishing – whose parent company Author Solutions was owned for some time by Penguin Random House being sold to Najafi Companies – has a seductive question: “Are you an Indian writer?”. That’s the cue to start panting and salivating. Yes, yes, I am a writer, and goddamn it, I want to be published.

Partridge isn’t the only one in the game, of course. There are a number of others offering the same services. For a fee, they will set you up with you very own Man Friday to help you edit, get your book published, and create the most annoying FB posts to promote it as well. You too can be an author.

So what’s wrong with this? Well for starters, it invites anyone willing to shell out cash to get published. That means the number of books goes up, and those who can afford to, market their books up too.

This also means that traditional publishers (you know, where they actually like your work enough to publish it and give you the money?) are less likely to be heard in the noise, and some very decent writing gets lost in the arena of self-published books.

This does not mean all self-published books are terrible, but a lot of them are. I promise. The self-publishing market has been alive in the West for a long time. Check some of these bizarre publications of the past out. These poor authors just had to get their name out there, providing lots of fun for Amazon reviewers.

A few self-published works do exceptionally well, the operative word being “few”

The Guardian reports that ‘”the average amount earned by DIY authors last year was just $10,000 (£6,375) – and half made less than $500.” Of course the game-changers are people like EL James who bagged over $2.5 million in sales with her originally self-published 50 Shades series.

Sometimes an emotionally compelling story like Still Alice, by Lisa Genova, gets major fame. Not only was it a bestseller, but it also got made into a big budget Hollywood movie. There are some fantasy and genre fiction that becomes mini-cult favorites too, but, like other genre work (published by traditional publishers) they don’t make the mainstream.

If you haven’t heard of many other self-published books, now you know why. But they’re out there, in huge numbers.

As a self-published author, you’re a digital door-to-door salesman

After the initial high of getting a book published by paying for it, you are all on your own. Your writing, your story, and most of all your marketing are all your responsibility. Your book virtually becomes another Bangalore start-up – can you sell it to early adopters?

Either you didn’t want to go through the process of getting publishers to believe in your work enough to print and distribute it by themselves. Or you believe your work is truly good but it’s just too hard to get this kind of literature accepted by mainstream publishers.

Either way, there’s a very good chance your book will turn out poorly edited, with an unprofessional cover and mediocre production. And you will end up using all your social media time to get people to buy it, pretty please?


There is an option though. As primarily a short story writer, I personally know how hard it is to get a collection published as a first-time author. Even first novels have a much greater chance of being accepted by publishers. I waited for years, sent my stories to magazines and got rejections. It took almost a decade of trying before I got a small press in Singapore to believe enough in my collection to get it published.

I know I sound self-righteous, but I do see the value of holding out, honing your craft, and building an audience over the years. That is, if you really want to be a writer and aren’t looking for quick author stardom.

Thousands of books will be self- published this year. Most will sink into oblivion. This is not to say that traditional publishing provides the luxury of added success, many publishers are heartbroken by a good book that simply could not do well in the market.

If there is any point to take home from this, it is this and this alone: traditional publishing allows you to start a long journey, of understanding your own work in the context of the larger world. It builds patience and reason. It lets you understand the process of rejection and how that could possibly make you a better writer.

To write is a brave act, whether you self-publish or not. But to take your writing seriously, you must believe it has purpose and that it has a compelling story to tell. Good writing will get an audience.

Self-publishing offers a chance at this, but only a chance. And a shortcut can quickly lead you into a blind alley.

Correction: An earlier version of this article mistakenly stated that Partridge Publishing is owned by Penguin Random House. Penguin Random House has sold Author Solutions, the parent company of Partridge Publishing, to Najafi Companies, USA.

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Sponsored Content BULLETIN BY 

“Doctors have it easier than us. Their mistakes get buried, our mistakes will be there for everyone to see”

Celebrated architect Hadi Teherani tells us what luxury in the living space means to him.

Hadi Teherani is best known for designing iconic buildings in Germany including the famous Dockland office in Hamburg and the Kranhaus in Cologne. But he’s also left his mark on the landscape of Abu Dhabi with the Zayed University, and has designed a luxury residence that will soon grace the skyline of Mumbai—Lodha Altamount. We spoke to him about the challenges of designing luxury living spaces in India.

Q. In your opinion, what is the definition of luxury specifically in the area of private residences? Is it a lot of fresh air, space and daylight? Is it the room composition? Or is luxury something completely different?

Hadi Teherani (HT): For me, luxury is first and foremost to have space, not just enough for what you need but enough space to really thrive. And luxury has always been defined that way. If you look at Art Nouveau houses, those rooms have incredible heights. So yes, space is definitely an important factor when it comes to luxury. In Europe people pay attention to every square metre and here in Mumbai it is the same. There are slums where 4 people live in one room and just across the street somebody is living by himself on 1000 square metres. Once you have space, luxury can be in the features, in using certain materials, and there is no limit. Some things, of course, are simply not available here: the luxury of fresh air and a clean sea. No matter how much money you are willing to spend, you cannot get those. Therefore, you are limited to what is available.

Q. Have you incorporated this concept of space into previous projects?

HT: Yes, in different ways, no matter if you are working on government-sponsored housing projects or in the luxury segment. Usually our projects are more in the luxury segment, where space is crucial. We are currently designing a building where luxury can already be sensed at the parking level. You reach with your car and you are already supposed to have the feeling that you’ve arrived at a hotel lobby. This is how far luxury has come. That the arrival in a garage already gives you the feeling as if you are coming to a palace—you get out of your limousine into this stunning lobby and this feeling continues as you go up into the apartment where you have a bathroom that is 20-30 square metres and not just 5-10. The idea of really designing your bathroom or kitchen has not yet reached India. Bathrooms are still rather compact and practical since the idea of spending quality time in your bathroom doesn’t seem to exist yet. Customers definitely do not request a spacious bathroom when we discuss their projects. For me, personally, a great bathroom is extremely important, as it is the first thing you use in the morning. Afterwards you go to work, and you come back home. But I believe the areas that you use most need to have enough space for you to move and thrive in.

Q. Do you have any role model in the field of architecture? Maybe a building or a person?

HT: The Bauhaus is still my role model. Back then they designed products for day-to-day life, affordable for the general population. But those products have become classics today like the lounge chair by Le Corbusier. Those were project works but Bauhaus thought further ahead. The idea was to give people light, air and space, and to free them from elements that were poorly designed and uncomfortable like big stucco ceilings. The focus needs to be light, air and sun. For them, architecture and product design were always very fluent concepts. Le Corbusier, for instance, designed fantastic buildings as well as whole cities, but on the other hand also designed furniture. Gropius had even designed a car once and furniture, too. This school of thinking has influenced me, and once you have all those “tools” and this way of thinking, you get very far. With this “toolbox” of modern design, you can create anything and influence society. The times back then aided this development; everyone was opening up, living in and with nature, not hiding away in little holes. And the world evolved from there. And today you can see they are daring even more spectacular things in Asia than they used to in Old Europe.

Q. You have already gained quite some experience in India. Is there something that you would define as a typical “Indian palate”, and if so, how does it differ from the international projects? You already mentioned the differences in bath and kitchen design, but are there, for instance, taboos like colours you wouldn’t use or something in room composition?

HT: I haven’t encountered anything like that. What I do experience is that many projects are influenced by religious thoughts and by Vaastu, something like Feng shui. So the master bedroom has to be in the south-west and the kitchen has to have a certain location. Those rules need to be followed exactly, no matter if it makes sense for the building or not. Here in Mumbai it’s a little more liberal but in other regions, Hyderabad for instance, every centimetre has to be exact as per Vaastu. Sometimes they want a dedicated room for pujas. All this changes while designing a project, of course. But overall the ground plans are not that different. The families might be bigger so houses and apartments are bigger as well, or they are trying to utilize each and every square metre and avoid hallways, for example.

Those projects are also in the centre of a lot of marketing. We are not used to that in Europe but here in Mumbai or even more in other cities like Bangalore, along the entire highway from the airport into the city you only see 50-metre-high billboards announcing new real estate projects. You don’t see anything else! And it’s very creative marketing with catchy headlines and slogans. That isn’t happening in Germany. One more difference: when designing upper class buildings in India, they require a maid or servant room, maybe a separate entrance from the staircase and so forth. Here, you can still afford having a maid. In Europe you might have someone coming by for three hours once a week but certainly not living in.

Q. Let’s talk about the Lodha Altamount. What was the challenge?

HT: The design of Altamount was strongly influenced by being a Lodha project and by its location. Next to Altamount stands a luxury highlight of architecture, the Ambani tower, the most expensive home in the world. How do you want to top that? The Ambani tower is very structural. It shoots through the air, it combines all sorts of crafts and structural design elements with gaps and open spaces. You can’t top that and definitely not with our type of design. That’s why we decided to hold back and instead develop a dark and sleek building. That type of building doesn’t exist a lot here in India. Usually buildings have many structural elements like beams and balconies. By creating a calm building in the skyline of Mumbai, we will make Altamount stand out. Plus, the top of the building is very unique. Many structures are either simply cut off straight or completed by a dome. We have two geometric pointy tops so that the building is properly completed and doesn’t look as if it could grow further. It has a head and feet and is finished. So for us to hold back was our way to stand out. It doesn’t devalue the building design in anyway. It is meant expressively in the sense of “less is more”. And the interior is of course very luxurious: it is designed through and through, there is the green car parking podium, each balcony has a mini pool. So all those luxury features are present but the architectural design is based on the idea of “less is more”.

Lodha Altamount (Mumbai) designed by Hadi Teherani.
Lodha Altamount (Mumbai) designed by Hadi Teherani.

Q. Luxury can drift into the eccentric, depending on the client. Have there been any projects that were very eccentric which you still accepted or projects that you had to turn down because they were too eccentric?

HT: As architects, we create a space. What happens, of course, is that people buy an apartment in a great contemporary building and then furnish it in a baroque style. But that freedom has to be there, of course, because we can’t also tell the client which curtains to use or clothes to wear. At a certain point our job is done. However, when it comes to public buildings, the public is supposed to benefit from, so I have to be strict and dictate. In private buildings you can leave it up to the individual but publicly I have a responsibility and cannot consider each and every taste. I have to do a clean job so that in the end every individual can find himself or herself in my design. Anyway, taste always stems from a certain upbringing, culture and environment, so I also have the duty to educate and that’s what I do with my projects. When a small child walks by a building, she recognizes when the proportions are right even if she has no idea about architecture. But if the proportions are off, the child will pick that up too, because every building also exudes energy, either of unease or comfort. So we have quite a big responsibility as well. I always say doctors have it easier than us. Their mistakes get buried, but our mistakes will always be there for everyone to see.

With one residence per floor and a host of bespoke luxury services, Lodha Altamount is the epitome of unrestricted luxury. Designed by Hadi Teherani, and a part of the Lodha group’s Luxury Collection that has homes present at only the globe’s most-coveted locations, Lodha Altamount is the last word in luxury in India. For more information about Lodha Altamount, see here.

This article was produced on behalf of Lodha by the Scroll.in marketing team and not by the Scroll.in editorial staff

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