Why This Decision Matters
As I near the finish line of writing The Secret Life of Jacqueline, I face a final decision—one that may shape this book’s future as much as any chapter I have written.

Should I pursue a traditional publishing contract, or should I publish independently through BookLocker, as I have with my previous books?

At first glance, this appears to be a straightforward business decision. Compare the advantages and disadvantages of each path, weigh the financial implications, and choose the option with the greatest return. But for me, it isn’t that simple.

The Secret Life of Jacqueline is unlike anything I have ever written. This is not merely my sixth book. It is the culmination of years of archival research, genealogy,
DNA discoveries, international travel, and historical investigation. More importantly, it is my mother’s story—a story that remained hidden for more than eighty years until the pieces slowly began to fall into place.

Along the way, I uncovered family secrets no one expected to find. Each discovery led to another question, another archive, another trip, and another conversation. Gradually, what began as family research became an epic historical novel spanning occupied Paris, wartime Germany, Indochina, and beyond. Because of that journey, this book has become deeply personal to me.

That changes the publishing decision.

For some authors, publishing is primarily a commercial endeavor. Success is measured by advances, bookstore placement, bestseller lists, and royalty statements.
Those things certainly matter. But they are not the only things that need to be considered. My goal is to share Jacqueline’s story with as many readers as possible while preserving its integrity. More than anything, I want readers to meet the woman I spent years uncovering—a woman of courage, heartbreaking complexity, resilience, and, ultimately, survival. Every decision I make—from editing to cover design to the publication schedule—should honor that goal. That realization led me to ask a different question. Not, “Who should publish my book?” Instead, “Who is the right publishing partner for this book?”
That single shift in perspective transformed the entire decision-making process.

A Different Kind of Author
Every author arrives at this crossroads from a different starting point. Some writers are publishing their first manuscripts. Others dream of seeing their novels on
shelves across the country. Many hope to secure a traditional publishing contract, a validation after years of hard work. I understand those aspirations. But I am not starting from the beginning.

Since 2017, I have published five books, including four with BookLocker and one with Amazon KDP. Together, they have sold more than 12,000 copies, with editions available in print, Kindle, and Audible formats. Those books taught me something unexpected. I genuinely enjoy the publishing process.

Many authors dread discussing cover design, coordinating with editors, planning launch schedules, tracking sales, or developing marketing strategies. I don’t.
After decades of managing large technology organizations and complex projects, I enjoy bringing all the moving pieces together. Editing, production schedules, marketing plans, websites, speaking engagements, and book launches—these aren’t distractions from writing. For me, they’re part of the creative journey.

That realization is important because it immediately made me look at one of the traditional arguments for pursuing a major publisher differently. One of the biggest selling points of traditional publishing is that the publisher manages much of the production process. For many authors, that’s a significant advantage.

Traditional Publishing: An Attractive Path for Many Authors
There is a reason traditional publishing continues to attract thousands of aspiring authors each year. For many writers, it is the fulfillment of a lifelong dream. A respected literary agent falls in love with the manuscript, a publisher offers a contract, and a team of professionals takes over. Developmental editors strengthen the story, and designers create the cover. Those are significant advantages. Traditional publishers also lend credibility. Their imprint immediately signals to readers, reviewers, and booksellers that experienced professionals considered the manuscript worthy of publication. That validation can open doors to major review outlets, literary awards, foreign translation rights, and opportunities that are often difficult for independent authors to secure.

For a first-time novelist, those benefits can be especially valuable. I completely understand why so many authors pursue that dream. I even pursued it myself.

My Brief Journey into Traditional Publishing
Earlier this year, I decided to give the traditional publishing route a fair shot. I didn’t just send a few emails and hope for the best. I researched the process. I studied successful query letters. I prepared what I believed to be a compelling pitch package. I carefully selected twenty literary agents who represented historical fiction and seemed like good fits for The Secret Life of Jacqueline. Then I submitted my query.
And I waited.
The first week…Nothing.
The second week brought my first response—a polite rejection.
Over the next eight weeks, three additional agents replied. Each response was professional. Each response was courteous. Each response was, in effect… “Thank you, but this project isn’t right for us.”

That left sixteen agents who never responded. At first, I was disappointed. After reflecting on the experience, I realized something important. The silence wasn’t about my book. It was about the system.

Understanding the Reality
One additional reality also weighed heavily on my decision. Even if I had secured an agent and signed a traditional publishing contract, my work still would not have been finished. After developmental editing, copyediting, cover design, catalog placement, sales meetings, printing schedules, and marketing preparation, the typical publication timeline is another 12 to 18 months before a book reaches readers.

For some authors, that timeline is reasonable. For me, it isn’t.

The Secret Life of Jacqueline has become much more than another writing project. It represents years of research, travel, and personal discovery. Once the manuscript is complete, I want to maintain that momentum—not set the project aside for another year or more while it moves through the publishing pipeline.
I want to share Jacqueline’s story while the excitement of discovering it remains fresh. Literary agents occupy one of the most demanding positions in publishing.
Many receive hundreds of unsolicited queries every week. They simply cannot read every submission in depth. To survive, they rely on quick screening methods, form responses, and, quite often, no response at all. I don’t fault them for that. It’s the reality of today’s publishing industry. But that realization prompted me to ask another question.

If I already know how to write a book…
If I already know how to publish a book…
If I already know how to market a book…
Why am I spending months asking strangers for permission to do something I already know how to do? That question stayed with me long after the agent responses stopped arriving.

What Self-Publishing Really Means
There was a time when self-publishing was stigmatized.
That time has passed.
Today’s independent publishing is highly sophisticated. Professional guidance, award-winning cover designers, experienced formatters, audiobook producers, and worldwide distribution networks are available to independent authors willing to invest in producing a first-class book.

More importantly, independent publishing lets me make every decision. I decide when the book is ready. I select my own editors. I approve every revision. I choose the cover. I set the publication schedule. If new discoveries emerge after publication, I have the flexibility to update future editions without waiting for contractual approvals or for rights to revert.

For many authors, those responsibilities can feel overwhelming.
Oddly enough, They’re the part I enjoy the most. After spending decades leading complex organizations and managing large technical projects, coordinating editors, designers, printers, websites, speaking engagements, and marketing campaigns doesn’t feel like a burden.
It feels familiar.
It feels like home.

Control Isn’t About Ego
One criticism often leveled at independent authors is that they simply want to control everything. There is probably some truth to that for some writers. Every manuscript I publish is professionally edited because every book deserves the benefit of experienced eyes. The same applies to cover design, formatting, proofreading, and marketing advice. I don’t want fewer professionals involved. I want to choose the professionals who join the team. That distinction is important. Creative control doesn’t mean refusing advice. It means making informed decisions after listening to people whose judgment I respect.

Publishing Has Changed
The publishing world today is very different from what it was twenty years ago. Online retailers now account for the majority of book sales, particularly among historical fiction readers who discover books on Amazon, through Kindle recommendations, podcasts, online communities, newsletters, and social media rather than by browsing bookstore aisles. However, physical bookstores and libraries remain important.

Traditional publishers continue to offer advantages that independent authors cannot easily replicate. I don’t dismiss those realities, but neither do I ignore another reality. My previous books have shown that I know how to reach readers. I’ve built an author website. I’ve spoken at senior living communities. I’ve built relationships with readers. I’ve learned how to launch a book. I’ve made mistakes. I’ve learned from them. In other words, I’m no longer trying to figure out how publishing works. I’m trying to choose the model that gives this particular book the best chance of long-term success.

The Marketing Question
One concern remained: Marketing.
This is the area where traditional publishers used to have their greatest advantage. At first, I assumed that might ultimately tip the balance. However, the more I researched the subject, the more nuanced the answer became. Traditional publishers no longer provide marketing support to new authors. [source: WritersWeekly.com, May 22, 2026] There are no marketing specialists or coordinated publicity. Worse, 99% of traditionally published books never make it into bookstores. Major publishing houses understandably devote most of their marketing resources to a relatively small number of lead titles each season. Mid-list authors often find that much of the promotional responsibility still rests with them.

Independent authors face the same reality. The difference is that I can choose exactly where to allocate my marketing budget. Rather than hoping my book rises to the top of a publisher’s priority list, I can build my own strategy and marketing team. That means hiring experienced publicists who specialize in historical fiction, selecting professionals with proven track records, setting realistic expectations, and carefully measuring results. Ironically, the freedom to assemble that team myself feels very similar to how I spent my professional career.

Having spent my career building high-performing teams, I don’t want to hand marketing away—it’s something I want to build.

A Different Definition of Success
Throughout this process, I kept asking myself one question: “Which decision best serves my book’s story?” Success for The Secret Life of Jacqueline will never be measured solely by sales figures. Of course, I hope the book reaches a broad audience. Every author hopes for that. But if readers close the final chapter with a deeper appreciation for the courage, sacrifice, complexity, and humanity of one fascinating woman whose story might otherwise have been forgotten, I will have accomplished something that cannot be measured by royalty statements alone. That perspective has guided every major decision throughout this project. It should also inform the final publishing decision.

Conclusion
When I began evaluating my publishing options, I expected to compile a simple list of pros and cons. Instead, I discovered something far more important. The decision was never really about publishers. It was about partnership. Traditional publishing remains an excellent choice for many authors, and I have deep respect
for the editors, agents, designers, marketers, and publishing professionals who help bring exceptional books to life.

After carefully considering every factor, I realized that my path is different. I already know how to publish, market, and build relationships with readers. What I need is not someone to take over the process. What I need is a trusted partner who respects both the story and its author.

Why BookLocker Is the Right Partner for The Secret Life of Jacqueline
As I worked through the advantages and disadvantages of both publishing models, I gradually realized I had been asking the wrong question.
The question was never “Should I choose traditional publishing or self-publishing?” The real question was: “Who is the right partner for this book?”
For me, the answer became clear: BookLocker.
That answer isn’t based on loyalty. It isn’t based on habit. And it certainly isn’t because I believe traditional publishing is inferior. It’s based on experience.
Over the past several years, BookLocker has published four of my five books. Together, those books have reached thousands of readers worldwide. More  importantly, the relationship has always felt like a partnership rather than a transaction. They have consistently provided professional guidance while respecting that the final decisions rest with me. That combination matters to me. I value expertise. I also value trust.

For The Secret Life of Jacqueline, BookLocker offers a combination of professional support, creative freedom, worldwide distribution, and publishing experience that best aligns with both my goals and the story I have spent years bringing to life. After weighing every option and considering everything I’ve learned over the past several years researching and writing Jacqueline’s story, I can’t think of a better way to bring her into the world.
I wasn’t looking for a new publishing partner.
I already had one – BookLocker. Because I don’t want a publisher – I want a partner.

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Chris Emery grew up on a farm in central Maryland; he earned his Bachelor’s degree in Information Systems Management from the University of Maryland. Chris has more than 40 years of information technology experience, including 25 years with the federal government. He has been the head of software applications development, a Chief Enterprise Architect, and a Chief Information Officer. Chris, Federal government career began with the Reagan White House, Office of Administration in January 1986. After eight-plus years at the White House, he returned to the private sector then later rejoined the federal government in senior information technology management positions, working for the US Congress, Departments of Treasury, Homeland Security, and Justice. Chris lives in Washington DC.

 

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