76: Why Being Able To Ignore The Usual Gatekeepers Is Still So Important

Celebrating the stories that refuse to be turned into minced meat, and the authors brave enough to serve them exactly as they are.

76 is the title of Paul Phillips’ latest novella, a book I had the privilege of beta-reading last month.

The word privilege is not being used lightly here: 76: A Novella is a sophisticated, bittersweet coming-of-age story with elements of metafiction and magical realism. It’s funny, erudite, and beautifully crafted.

This is not a book review, though. My motivation for writing this post stemmed from the realization that, without easy access to self-publishing tools, readers might never have the opportunity to enjoy the works of authors like Paul Phillips.

76 is not the first book I’ve read by this author. In fact, I wouldn't have volunteered to beta-read it if I hadn't been immensely impressed by his writing in ANIMUS, a collection of short stories, and THE BORODINO SACRIFICE, an upmarket historical thriller set in post-WWII Europe.

I’m not easily impressed, but the quality of Phillips’ fiction truly stood out to me. I initially thought his three novels in the Chasing Mercury series had been traditionally published. It seemed, much like what I’ve observed with numerous authors, that he might be someone who transitioned to self-publishing after his publisher showed little interest in his short fiction. When I learned that not even the novels had been traditionally published, my jaw dropped for a moment. However, because I happen to share my life with a nonfiction author published by one of the Big Four, I'm aware of some of the factors that influence which works get published. Ultimately, it largely comes down to perceived return on investment (ROI). I like to think I would make different choices if I were in a decision-making position at one of those companies. The truth is that my decisions would not be significantly different. Publishing houses are businesses. Their purpose is to generate profit, and if a large enough number of readers want to buy mediocre prose, that's what they'll publish. It's also what agents will present to publishers. Let's face it: Why try something different, aimed at a more sophisticated, literate audience, and risk losing money when you already think you know the kinds of books most readers will buy? It’s the same "safe approach" that most businesses follow – oftentimes with onerous consequences when they don’t. Just Google “McDonald's Arch Deluxe” and you’ll see what I mean.

Here is where self-publishing comes in and makes a huge difference for many writers – and for readers as well. Without self-publishing, sometimes via small presses founded by the authors themselves, readers wouldn’t have been able to enjoy, among several other titles that have shaped our literary culture, Jane Austen’s Sense and Sensibility (1811), Walt Whitman’s Leaves of Grass (1855), Mark Twain’s The Adventures of Huckleberry Finn (1885), Marcel Proust’s Swann’s Way (1913), or Virginia Woolf’s Mrs. Dalloway (1925). They wouldn’t even have read A Christmas Carol (1843) by Charles Dickens or The Tale of Peter Rabbit (1901) by Beatrix Potter! At one time or another, all these writers decided they would not be prevented from publishing their books by the usual gatekeepers and became “indie authors”.

I've been an indie author for more than 20 years now, publishing different genres under several pen names – because I’m an eclectic writer who perhaps publishes too many stories per year and, yes, readers tend to equate an author's name to a specific genre (I’m getting a little tired of that pen name/genre game, but that’s a conversation for a different post). What made me start self-publishing my stories was having a publisher renege on a book deal just after a big publishing group acquired the company. Suddenly, my novel wasn’t “commercial enough.” Of course, it wasn’t! It wasn’t even commercial fiction! It was a metafictional noir, a mystery with a lot of magical realism added to the mix. It was “upmarket fiction” at best – only, of course, nobody was using that term back then. Regardless, having my prose dubbed as “non-commercial” is something I’ve been happily living with ever since! If anything, I wear it as a badge of honor! In these times when AI-generated content seems to be everywhere, and literacy is declining, non-commercial fiction might be the last bastion of what was once authentic human prose. I hope things will get better eventually, but I'm not all that optimistic. 

Indie Author is another badge I wear proudly. And 76 by Paul Phillips is a great example of the kind of freedom self-publishing can offer a writer: his new book is like an exquisite piece of tempura – the light, golden, crunchy batter hides something unexpected inside. It is a delightful book to savor – for those of us willing to risk tasting more than just cheeseburgers.

Paul Phillips is also a perfect example of the kind of writer who renews my belief in the importance of ignoring the usual “fast-food” gatekeepers and continuing to self-publish the stories we love writing and reading.

So here’s to the stories that refuse to be turned into minced meat, and to the authors brave enough to serve them exactly as they are.

Happy Self-Publishing!

C. E.

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