What Is a Hybrid Publisher?

hybrid publisher

I’m frequently asked by writers, journalists, and even publishing insiders to define “hybrid publishing.”

This is a confusing term, because you will hear different definitions or descriptions of hybrid publishing depending on who you ask and what their agenda is. The term has become popular among companies that wish to put a new, “innovative” face on a very common, age-old activity: charging writers to publish.

Here’s what I think most people can agree on: Hybrid publishers combine aspects of traditional publishing and self-publishing. Beyond that, however, it is challenging to define what such companies have in common. They have extremely varied business models, methods of working with writers, and approaches to marketing and distribution. Costs, too, are all over the map.

Making matters more complicated, “hybrid authors” are not authors who work with hybrid publishing companies. Instead, that term describes authors who both traditionally publish and self-publish. So don’t confuse hybrid authorship with hybrid publishing—they’re two different things.

Varieties of hybrid publisher

While it is nearly impossible to generally describe hybrids, here are some rough categories you’ll find in the market today.

  • Editorially curated. While authors typically subsidize the costs of editing or publication, this type of hybrid publisher doesn’t accept every author who walks through the door. This selectivity can lead to better branding/reputation for the publisher and better marketing and distribution for the author. Examples include Wonderwell and Greenleaf Book Group.
  • Crowdfunding driven. Publishers such as Inkshares and Unbound require the author to raise a certain amount of money from their readership before they are granted a deal, which then closely adheres to a traditional publishing process.
  • Assisted self-publishing. Authors pay to publish, and there is little or no discernment in what types of authors are accepted. In the pre-Internet era of publishing, this was commonly called “vanity” publishing (and sometimes still is).
  • Traditional publishers with a self-publishing arm. Some traditional publishers—including small presses you haven’t heard of—may offer author services or assisted self-publishing and call it a “hybrid” option.

In the case of assisted self-publishing (I prefer to call them “publishing services,” for what it’s worth), these companies adopt the moniker of “hybrid publisher” to look more innovative or attractive to authors, to help shed that old stigma of “vanity publisher.” They’re not really a hybrid publisher unless they can point to what they do that offers a traditional publisher’s value—such as selectivity in acquisitions, editorial guidance and vision, and meaningful marketing support (which is costly, by the way).

What about distribution? What many authors don’t realize is that book distribution through online retail channels is more or less free and straightforward. (Online retailers and distributors like IngramSpark take a cut of your sales; they don’t typically charge for distribution.) Most authors shouldn’t work with paid publisher (hybrid or not) because they’re worried about “distribution.” That said, if you’re the kind of author who can’t imagine being published without in-store placement and an effort to build relationships with bookstores and libraries, you’re probably looking at a top-shelf hybrid publisher, investing in a print run, and spending north of $20,000.

In the case of publishers with a self-publishing arm—which may not offer great professionalism to begin with in their traditional operations—they may be using paid services to prop up their business and also to position themselves as progressive. These can be the most frustrating “hybrids” of all, since they might be identifying themselves primarily as a traditional publisher and be listed in market guides such as Writer’s Market, but could use that as a bait-and-switch: Oh, sorry, your work doesn’t meet our editorial needs for our traditional publishing operation, but would you like to pay for our hybrid publishing [or self-publishing] service?

I recommend running in the other direction if that happens.

How to evaluate a hybrid publisher

So how can you tell if you’re just being sold a bill of goods by a hybrid publisher? Here’s what to consider.

  • A hybrid worth the name will have some method of curating or selecting what projects to take on. In other words: They consider the market potential of your work and its ability to succeed. If they appear to take anyone and everyone, then you’re better off evaluating the best self-publishing service to use. Don’t kid yourself about leveling up to a hybrid. (So-called hybrids aren’t averse to playing to your ego to get your business.)
  • A hybrid publisher should offer the potential of specialized or hard to get distribution, where they can get books physically placed on shelves in stores. They might not be able to promise this, but if they’re actively placing books at bricks-and-mortar retail outlets—and they have a catalog of titles for marketing purposes—that’s a good sign. Again, any self-publishing author can easily get distribution through online retail, via Amazon and IngramSpark (who take a cut of sales), so the more the hybrid invests in marketing and distributing print editions, the more they might be offering something you may not be able to accomplish yourself. Still, keep in mind most books are not sold in physical stores now. They are sold online.
  • Most hybrid publishers that live up to their name work with you both pre-publication and post-publication. The relationship doesn’t end once the book is done; some even sell subsidiary rights on your behalf. However, you may have to pay fees to continue the relationship beyond the first year or so.

The Independent Book Publishers Association released hybrid publishing criteria in 2018 to help the industry create some professional standards around hybrid publishing. This is a good and helpful effort, but companies are not required to follow these criteria and no one is policing it. It’s just a set of best practices and anyone can call themselves a hybrid.

To summarize: Hybrid publishers that merit the name conduct some level of gatekeeping, offer value that the author would have a hard time securing on her own, and should also pay better royalties than a traditional publishing deal. (Fifty percent is common.) Ideally, the hybrid is recognized in the industry for its quality and has a reputation for providing a publishing experience and final product that justifies the cost.

However, once you pay tens of thousands of dollars to publish, it reduces the likelihood you’ll make a profit on book sales, especially when the hybrid takes a cut of the profits. So go in eyes wide open, and spend only what you can truly afford. Published books rarely sell as many copies as authors dream of.

For further discussion of this issue

See my May 2022 article in The Hot Sheet.

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Ernie Zelinski

You say, “The best hybrid publishers . . . . should also pay better royalties than a traditional publishing deal. (Fifty percent is common.)”

What do you mean by “Fifty percent is common”? Is this fifty percent of retail price or fifty percent of net proceeds or fifty percent of something else.”

Although I have a traditional publishing agreement that pays me 30 percent of net proceeds (about 15 percent of retail price) for the tradeback edition my “The Joy of Not Working”, this is unusual. Most traditional agreements with major publishers for tradebacks are in the range of 7.5 percent of retail price. That is why I am wondering what the common fifty percent paid by hybrid publishers is based on.

Susan Wittig Albert

Jane, here’s another “hybrid” you might want to add: Traditional literary agency with a self-publishing arm. I’ve worked with one of these since 2012: Levine Greenberg Rostan, a large (and well-respected NY agency) which began developing a “digital rights” section about 5 years ago. http://lgrliterary.com/ebooks/ What I like: informed assistance throughout the entire publishing/marketing process, subrights (large print/audio/film) sales, and account management. LGR is currently handling my third author-published book, and I have only good things to say about the process.

Lisa Roettger

Thanks for giving some more details on this topic. I know it is something many writers ask about.

Frances Caballo

Wonderful post, Jane. Over the years I learned about all the hybrid publishers by attending conferences and meeting a lot of them but I have greater clarity about the differences now that I’ve read your post. I agree with you: run from the companies that make you put up all of your money up front. They won’t have your best interest at heart. I understand from colleagues that She Writes is a worthwhile organization and the authors that I know who’ve used She Writes have been pleased with the results. I met representatives from InkShares a few months after they formed. I was attending the San Francisco Writer’s Conference and they were an exhibitor. I think the crowdfunding they require is similar to what some traditional publishers require in terms of developing a mailing list and using social media. InkShares wants to make sure that their authors have a readership.

Audrey Pflugrath

I’ve been looking for a good definition of hybrid publishing. Thanks, Jane, this was a really helpful explanation.

M. Lachi

Hi Jane! I put together a list of hybrid publishers. So far it reaches around fifty, but would encourage anyone who knows of any others to add to the list (here: http://mlachi.com/blog/hybrid-publishers-a-growing-list).

I find it interesting that hybrid publishing has been around for over seven or so years, but is still struggling to solidify a legitimate foothold (still has no wikipedia definition). I am curious as to where the unspoken push back is coming from re the medium. If the author and publisher are together throwing in the same expenses a trade would invest, would they not receive the same benefits? Or is it simply a matter of name recognition and the distribution relationships trade pubs have in place that keep the big 5 from becoming a big 5 + big Hybrid 3 (so to speak)? The question may be naive, but I’m super new to the idea!

Sarah

Very interesting and informative page regarding ‘Hybrid Publishing.’ In June last year, I submitted my manuscript for a children’s book to a publisher called Austin Macauley (AM), heard of them? Well, to cut a long story short they said they would get back to me within 6 weeks, however, they only took 3 weeks to reply, why? Because they wanted fees ranging from £1900, £2400, and £4400, depending on which route I wanted to take with getting my book published. Of course, I didn’t reply to them as I cannot afford such fees. Their website states that they ‘follow traditional publishing etiquettes, with the option of the new ‘hybrid’ model, where the author may be asked to contribute to the publishing costs.’ What AM are offering writers is nothing more than a vanity publishing deal, only they are using another terminology in order to fool hopeful authors.

Erin Murray

I have been writing since i was a kid. I have to relatives that have published books I would love to publish this religious book I am writing Not sure what the title is yet. I would also love to publish my poems

S.L.

What an interesting article. I stood my company up BECAUSE I was scammed by a vanity publisher with my first book and I listened to other authors horror stories about “reputable” publishers. I am considered a ‘hybrid publisher’ because I wanted to do the exact opposite of traditional publishers. I charge a flat fee for services and the author keeps 100% of their royalties. Yes, I list on google. Yes, I set up websites. No, I don’t put my client’s books in large OR small bookstores because the store takes 40-60% of the profit. Factor in the cost of the book and shipping and it’s asinine to even CONSIDER. You’re better off with book signings, readings, and workshops to get up close and personal with your readership. But my clients know up-front what is my responsibility and what is their responsibility. And no, I don’t accept payment until everything is complete and my client is 100% satisfied with my work. See? Some of us have pride in our work AND have morals.

trackback

[…] Shark Infested Bookshelves- I know I talk a lot about scammers, but so many author mills and vanity presses operate under the guise of being a legitimate small press. Did they charge you any fees, did they solicit you, or were you required to buy anything (even copies of your book)? Those are all red flags that this may be a predator and not a publisher. At the very least, they would be a hybrid press rather than a small press, and those have some notable differences you should be aware of. […]