Hispanic Fanatic

It was not my intention to create a trilogy about the Latino publishing scene, but that is what has happened. My previous two articles were about big publishing’s snub of Hispanic authors and the rise of small presses. And now I will complete the triumvirate by detailing the virtues and flaws of self-publishing e-books.

But for this analysis, I needed an insider’s perspective. So I sat down for coffee with Pedro Huerta, Amazon’s Director of Kindle Content for Latin America.

[Full disclosure #1: I have recently self-published a novel on Amazon.]

[Full disclosure #2: I don’t drink coffee. I actually had tea.]

Huerta is excited about Amazon’s second annual Indie Literary Prize for Spanish-language authors. The contest, which runs from July 1 to August 31, is open to any writers who upload their Spanish-language e-books to Amazon’s KDP platform. From the presumably hundreds of entries, five finalists will be named. The winner will be published in print by La Esfera de los Libros, and his/her book will be translated into English and published in digital, print, and audio formats by AmazonCrossing.

“Authors can submit a 10-page poem or a 500-page novel,” says Huerta. “We’re open to all genres, and it’s a great opportunity for new writers to get discovered.”

Of course, it’s fair to ask if winning the contest will really help Spanish-language authors further their careers. After all, self-publishing is a crowded, frenzied mob scene where high-quality books struggle to stand out from the waves of semi-illiterate, self-righteous and just plain insane manifestos that wannabe authors hurl at readers.

No, it’s not pretty.

Now add in the fact that we’re talking about Spanish-language e-books, which have an even smaller audience in America than English-language printed works do.

However, Huerta is undeterred. He says that self-publishing is the democratization of literature, where even the most outlandish writers can find an eager audience. And he says that if anything, this approach is more relevant for people who prefer to read in Spanish.

“Even in the best bookstores in America, the Spanish-language section is limited,” Huerta says. “What we’re doing is bringing the greatest bookstores in Mexico City, in Barcelona, to everyone in America.”

But will Americans be buying? Well, as we all know, the Hispanic population in America is increasing. And bilingualism, once an exotic and politically suspicious activity, is on the rise as well. Thus, it stands to reason that the audience for Spanish-language books is also getting larger.

Furthermore, Latinos are more likely to use mobile electronic devices than the general population. Because Hispanics are so plugged in, it’s pretty easy to imagine Latino readers devouring e-books on their Kindles, Nooks, and laptops.

Amazon is aware of these intersecting cultural trends, and the company doesn’t want to be left behind.

“Latinos love to read,” Huerta says. “And we want them to read. Whether it is a traditional book or on a Kindle, we want reading to be a daily part of everyone’s life.”

So will winning Amazon’s contest set a Spanish-language author on the path to becoming a household name, a sort of Latino version of Dan Brown or Stephen King? Huerta says that’s a possibility, but he adds that this is not really the point.

“There are Latino authors who want to be the next John Grisham, and that’s great,” Huerta says. “But the goal is increased visibility for all good writers. It’s not just about winning the contest. It’s about encouraging authors to get their work out there, and helping readers discover them.”

Huerta imagines a future where authors take wild, experimental chances because no one can prevent them from publishing online. He says that many writers will create books that are aimed at an audience of a few hundred, or even just at their immediate loved ones. And he points out that another advantage of e-books is that they never go out of print.

“What are the stories to be told?” Huerta asks. “Let’s capture all of them, online, and keep them forever.”

Recently, I wrote about the dismal publishing scene for Latino authors. Well, I was remiss in at least one aspect. I implied that Hispanic writers are limited only to pitching the big New York publishing houses or jumping into the self-publishing quagmire. There is another option.

Namely, it is the world of small presses. Now, in the past, the phrase “small press” invoked images of ink-stained loners cranking out bizarre manifestos. Well, you’ll be glad to know those guys have moved on to troll internet comment pages across the web.

The small presses that exist today are often professionally run, highly principled organizations that focus on marginalized or experimental writers. And when it comes to Latino authors, we may be entering a golden age.

I’m talking about presses like Arte Publico, Floricanto, and Editorial Trance, all of which have been doing great work for years. And there is also Aignos Publishing, co-founded by Jonathan Marcantoni and Zachary Oliver.

Marcantoni says that Aignos, and other small presses that have a similar focus, look for writers who push boundaries and challenge readers to question their worldviews. Authors who embrace their distinct cultures — something Latino writers are well-known for doing — may find a home at Aignos or a similar small press.

“A small press gives authors the legitimacy of being affiliated with a company, one that is taken seriously by media and festivals and awards, in a way writers never get as self-published authors,” Marcantoni says. “Well-established small presses have marketing plans and publicists, plus the distribution channels are on par with what large presses use.”

Indeed, I can speak to this issue, as my own self-published novel, Barrio Imbroglio, is selling somewhere between hot cakes and lukewarm waffles.

It would certainly help to have an established marketing team behind me (my current marketing team consists of me and my cats).

Marcantoni says that when it comes to small presses, “the Latino author gets the best of both worlds: world-class distribution, a company backing their efforts, and creative freedom.”

That combo often leads to great books. For example, Aignos recently published Nuno, by Carlos Aleman. The novel is a lyrical love story set in pre-Castro Cuba and the aftermath of the revolution. Marcantoni says that Nuno doesn’t fit into mainstream expectations of Latino literature. As such, it lines up with Aignos’ mission of pushing writers to develop their views and skills instead of pressuring them to make the bestseller lists.

“No one should be a writer to be famous,” Marcantoni says. “It should come from a desire to express yourself and touch the lives of others.

So will we see more Hispanic authors telling their unique stories via small presses, touching the lives of more and more readers? Well, there’s ample reason to be optimistic about such a future.

“The Latino community can stand out as one of artists seeking to raise the bar of what storytelling can be,” Marcantoni says. “And there are publishers out there who will support you.”

It may be apocryphal. But supposedly an unnamed New York publishing executive was once asked why there were so few books by Hispanic authors, or novels featuring Latino characters.

His response was a blasé “Hispanics don’t read.”

This is indeed bad news, as apparently none of you Hispanic readers are literate enough to even comprehend this article. And I’m not literate enough to write it, which is quite the paradox.

In any case, that publishing exec was clearly not familiar with Latin America’s rich literary tradition, exemplified by the late Gabriel Garcia Marquez, the greatest writer of all time (let’s not debate this). He also didn’t know that one Latin American country, Cuba, has the highest literacy rate in the world.

But closer to home, why hadn’t this exec heard of the brilliant Junot Díaz or the groundbreaking Sandra Cisneros? Or did he believe only white people were reading those authors?

For whatever reason, our anonymous publishing executive refused to believe that the largest ethnic minority in America was interested in books. And in this refusal came justification for the continued blackballing of Latino authors.

“There are several factors contributing to the paucity of published books written by Latinos,” says Marcela Landres, an editorial consultant who publishes the award-winning e-zine Latinidad and co-founded the Comadres and Compadres Writers Conference.

“Primarily, we need more Latinos on the inside working in key positions, such as agents, publicists, sales reps, bookstore owners, and especially as acquisitions editors,” she says.

Landres adds that Hispanic culture itself is another barrier.

“Latinos immigrated to the U.S. so their kids could live the American Dream, which is defined by financial security,” Landres says. “Writing generally does not pay well, so our parents understandably pressure us to choose more sensible careers. In order to be successful as artists, Latinos need to respect our parents but perhaps not obey them.”

As any Hispanic can tell you, disobeying your parents is a tall order. But that is another story.

In any case, some Latino advocates believe that the big publishing houses have hoodwinked us into buying their mainstream books, giving them little impetus to change the formula.

Of course, one strategy to force change is to bypass the big publishing houses altogether. That’s what I did with my novel Barrio Imbroglio.

After some nibbles of interest from the majors, I got the picture that my black comedy tale — about a reluctant detective named Hernandez — didn’t fit in with the preconceived notions about Hispanic literature. Yes, I had the word “barrio” right there in the title, but where were all the undocumented immigrants and magic realism and metaphors using avocados? It was a little too different. So I’ve done what more and more authors — Latino and otherwise — are doing, and publishing directly to Amazon.

But this end run has its drawbacks.

“There are few Latino self-publishing success stories,” says Landres. “I have yet to see literary writers, and/or writers who take years to produce a single manuscript, whose self-published books have sold well. If you write genre and have a bunch of books ready to go, the odds are in your favor. If you’re a literary writer who spends years polishing a single manuscript, not so much.”

In addition to the self-publishing crapshoot, there is the unpleasant fact that — like it or not — the NYC houses still have the most influence on what people read. And they are not packing the midlist with Hispanic authors.

Now, this isn’t just a matter of fairness, nor is it even all about artistic integrity and the myth of meritocracy. A more fundamental reason becomes clear when one considers that “Latino children seldom see themselves in books.” Education experts say, “the lack of familiar images could be an obstacle as young readers work to build stamina and deepen their understanding of story elements like character motivation.”

Basically, there are only so many tales of brave and adventurous white people that Hispanic kids can read. At some point, they disconnect.

And if that is the future we want — a self-fulfilling prophecy where Hispanics truly don’t read — then we should just preserve the status quo.