The Author’s Advantage
The Author’s Advantage:
Why Co-Publishing Beats Every Other Path
A plain-language guide to the three publishing models — and why the co-publishing model offered by We Woodwards Publishing gives authors better terms, better economics, and better support than traditional or vanity publishing ever could.
A note from Lisa Woodward
After two decades in publishing — navigating traditional contracts, hybrid arrangements, and the full complexity of independent self-publishing — the only path that never burned me was doing it myself. But I also know that not every writer wants to run a publishing business.
Some of the most talented authors I’ve encountered are in the second half of their lives. They have stories worth telling and readers who would love them. What they don’t have is the appetite to learn distribution platforms, hire contractors, or defend themselves against predatory publishing contracts.
If they have to choose between getting gouged by a hybrid publisher and learning to self-publish from scratch, some of them will stop writing. I’m not willing to let that happen.
That’s why this model exists. Not to disrupt an industry, but to make sure the books get written — and that the writers who create them are treated fairly from the first page to the last royalty payment.
— Lisa Woodward, Founder, We Woodwards Publishing
Built from the inside out.
We Woodwards Publishing was not built to serve co-publishing authors. It was built to serve the Woodward family.
Lisa Woodward publishes two monthly magazines and books across multiple fiction genres under several pen names — for herself and for family members. The name “We Woodwards” reflects exactly that: a publishing operation built by and for the Woodwards, running at a pace most independent publishers never reach.
That means the infrastructure already exists. The distribution accounts are open. The workflows are established. The contractor relationships — vetted professionals Lisa has worked with for over 20 years — are already in place.
Co-publishing authors don’t pay to build any of this. They step into a system that is already operating, already distributing, already paying. That is why the pricing looks the way it does — not because corners are being cut, but because the foundation was already laid.
The publishing industry has a problem.
For most of its history, the publishing industry made its money by standing between writers and readers. Traditional publishers held the keys — the printing presses, the distribution networks, the gatekeeping machinery — and authors had no choice but to accept whatever terms were on offer. Low royalties. Long waits. Creative compromises. Rights handed over for decades. And before any of that, a mandatory relationship with a literary agent who takes 15% of everything the author earns, forever.
Self-publishing changed the equation. Suddenly authors could publish anything, on their own timeline, and keep far more of what they earned. But it came with a hidden cost: authors became project managers, marketers, contractors, and business owners — when most of them just wanted to write.
Into this gap came vanity and hybrid publishers. They promised the best of both worlds and quietly delivered neither.
There has never been a model that gives authors professional publishing at the cost of doing it themselves — with the rights, the royalties, and someone else managing the project. Until now.
The three paths — and what they actually cost you
Path 1: Traditional publishing
You submit to agents — because traditional publishers won’t consider unagented submissions. If an agent takes you on, they take 15% of everything you earn, for the life of the contract. If a publisher accepts the book, you sign over your rights, accept a royalty of 8–15% of net, and wait 18–24 months. After the agent’s cut, the author’s real take is closer to 6–13% of net.
For literary fiction, traditional publishing remains credible. For genre fiction, the timing is often fatal: trends move faster than traditional timelines. A book written for a hot market can arrive two years too late.
Path 2: Vanity and hybrid publishing
Upfront fees of $5,000–$25,000 or more, plus a royalty cut on every sale. Many authors discover too late they don’t own their files, can’t move to another distributor, and are locked into terms that benefit the publisher far more than them. The “hybrid” label covers everything from legitimate operations to predatory ones. Read every contract carefully.
Path 3: True self-publishing
Complete control, 35–70% royalty rates, full ownership. The challenge is the operational burden: coordinating editors, designers, formatters, and distributors while managing timelines, file formats, ISBNs, and copyright registration. For authors who simply want to write, it can be paralyzing.
Ten pain points every author faces — and what actually solves them
01
Rejection with no path forward
Most manuscripts are rejected not because they lack quality, but because they don’t fit a publisher’s current commercial priorities.
02
Giving away your copyright
Traditional contracts routinely require authors to assign copyright or grant licenses so broad that ownership becomes functionally meaningless.
03
Earning a fraction of every sale
A 10% traditional royalty after a 15% agent cut leaves the author with 6–8.5% of net. Vanity publishers add their own cut on top of large upfront fees.
04
Paying too much for too little
Vanity packages charge $5,000–$25,000 for services that cost a fraction of that, then take a royalty cut on every sale forever.
05
Managing too many moving parts
Self-publishing means coordinating editors, designers, formatters, and distributors simultaneously, while writing the next book.
06
Not knowing who to trust
The publishing services industry varies enormously in quality, reliability, and ethics. First-time authors have no reliable way to vet providers.
07
Waiting years to see your book published
Traditional timelines run 18–24 months. For genre fiction authors writing into active trends, this delay is often fatal to the book’s commercial prospects.
08
Losing creative control
Traditional publishers routinely request title changes, cover redesigns, and editorial direction that serve their marketing instincts, not the author’s vision.
09
Publishing the book but not knowing how to sell it
Without a marketing strategy, even well-produced books disappear. Most publishing arrangements offer little or no practical marketing support.
10
Not knowing what you don’t know
First-time authors make costly mistakes — bad contracts, wrong distribution path, skipped copyright, underpriced work — because no one told them what to ask.
What you actually pay — and what you actually keep
One clarification that matters: when We Woodwards says authors receive 100% of royalties, this means 100% of what distributors remit after their platform fees. Amazon, IngramSpark, and other platforms deduct their fees at source — this happens in every publishing model and is not a We Woodwards deduction. Whatever arrives from the distributor goes directly to the author, in full.
This is the same net rate a skilled self-publisher earns. The difference is everything the self-publisher must build and manage to achieve it.
Traditional (after agent)
6–13%
of net — after agent takes 15% of your already-low royalty.
Vanity / Hybrid
50–90%
of net — after paying $5K–$25K+ upfront. Publisher still takes a cut.
DIY Self-publishing
35–70%
of list price. Strong rates — if you manage everything yourself.
We Woodwards
100%
of distributor remittance. Same net as self-publishing. None of the work.
Sample cost comparison — 60,000-word book
No royalty cut. No agent fee. No exit penalty. Ever.
How the models compare across what matters most
| What matters | Traditional | Vanity/Hybrid | DIY Self-pub | We Woodwards |
|---|---|---|---|---|
| You keep your copyright | No | Sometimes | Yes | Yes |
| 100% of distributor remittance | No (6–13% net) | No (cut taken) | Yes | Yes — same as self-pub, without the work |
| Agent required (15% cut) | Yes — mandatory | No | No | No |
| Copy editing & proofreading | Yes | Yes (paid for) | You hire it | Yes — by Lisa or 20-yr vetted team |
| Interior formatting | Yes | Yes (paid for) | You hire it | Yes — print & digital ready |
| Professional cover design | Yes | Yes (paid for) | You hire it | Yes |
| Copyright filed in your name | No | Rarely | If you do it | Yes — mailed direct from Copyright Office |
| You receive all your files | No | Rarely | Yes | Yes — as each is completed, before publication |
| Files usable anywhere | No | Rarely | Yes | Yes — Word, PDF, ePub, jpg/png cover |
| All format distribution | Yes | Varies | You set it up | Yes — print, eBook, audio, worldwide |
| Project manager included | Yes | Loosely | You are it | Yes |
| Clean exit, no penalty | No — rights held | Rarely | N/A | Yes — files yours before publication |
| Reasonable upfront cost | $0 (rights + agent) | $5K–$25K+ | $1,500–$4,000+ | DIY cost, full service |
| No ongoing royalty cut | No | No | Yes | Yes |
| Creative control | Limited | Varies | Complete | Complete |
| Monthly royalty payments | Quarterly/bi-annual | Varies | Platform dependent | Monthly via PayPal |
| Optional consulting | No | No | Find it yourself | Yes — free first call |
| Optional marketing support | Publisher’s way | Sometimes | You handle it | $500 DIY kit to $5,000 done-for-you |
What you own — and when you own it
At We Woodwards, every file is delivered to the author as it is completed — before the book is ever published. The final Word document, final PDF, final ePub, and final cover image (as a jpg or png, usable on any platform with no restrictions) are all yours the moment they exist.
Copyright registration is filed in the author’s name and mailed directly from the Copyright Office to the author. We Woodwards never holds it.
The preferred arrangement is for We Woodwards to set up the author’s own platform accounts, upload the book and metadata, and then hand over the password. The account is entirely the author’s — We Woodwards never retains access. No termination is necessary because the author was always in control.
If We Woodwards publishes on its own platforms, files are removed immediately upon receipt of a termination notice. The 60-day notice period is a buffer, not a delay. No exit fees. No exceptions.
Straight answers to the hard questions
What does “100% of royalties” actually mean?
It means 100% of what the distributor remits after platform fees. Amazon, IngramSpark, and other platforms deduct their fees before paying out — this happens in every publishing model and is not a We Woodwards deduction. Whatever arrives from the distributor goes to the author in full. This is the same net rate a self-publisher earns on the same platforms.
What exactly does the $0.02 per word cover?
Copy editing, proofreading, and interior formatting for print and digital distribution. Formatting is professional and print-ready but is not produced in InDesign — authors receive Word, PDF, and ePub files. Developmental editing is available as an optional upgrade at an additional $0.03 per word.
Who actually does the editing and formatting?
Generally Lisa Woodward personally. When timelines require additional support, Lisa draws on a team of vetted professionals she has worked with for over 20 years — the same team that works on We Woodwards’ own titles every month.
Do I own my files? Can I take them and leave?
Yes, completely. You receive each file as it is completed, before publication. If we set up your own platform accounts, you change the password and they are entirely yours — no termination needed. If we publish on our platforms, your files are removed immediately upon notice. No exit fees. No exceptions.
Can I use my cover image anywhere?
Yes. The cover is delivered as a jpg or png. Use it on any platform, in any format, for any purpose. No restrictions.
Has anyone actually used this model? Is it proven?
We Woodwards publishes its own titles on this exact infrastructure — two monthly magazines and books across multiple fiction genres. Co-publishing authors are not joining an experiment. They are stepping into a system that runs every month. Author testimonials are available upon request.
How much does marketing cost?
Marketing is priced per project. As reference points: a full done-for-you campaign — outreach to 50 YouTube channels, 50 podcasts, and 20 events, local library and bookstore outreach within 50 miles, a book club guide, a 15-minute keynote written from the book, and 30 tailored social posts — runs approximately $5,000. The same campaign as a DIY kit with all email copy written and instructions provided runs approximately $500. Every engagement starts with a free call to scope the project.
What if I need help figuring out where I am and where I’m going?
That is exactly what the consulting service is for. Whether you are a first-time author who doesn’t know where to begin, or an experienced author whose business has grown faster than you can manage, one-on-one consulting with Lisa is available at any stage. The first call is always free. No sales pitch. Just answers.
This model exists because the author deserves better.
The We Woodwards co-publishing model was built from the inside out — by an author who has lived every frustration described in this paper, navigated every publishing path, and spent 19 years watching the industry fail writers in ways both large and small.
Co-publishing authors step into a system that already runs, already distributes, already pays. They benefit from the scale and expertise of an established operation at the cost of a single publishing run. No rights lost. No royalties shared. No files held hostage. No exit fees.
Traditional publishing made authors grateful for scraps. Vanity publishing charged them a fortune for the privilege. Self-publishing handed them a business they didn’t ask to run.
Co-publishing at We Woodwards gives authors what they actually wanted all along: their book, professionally published, their rights intact, their royalties whole, their files in hand — and someone else handling the rest.