Tag Archives: distribution

Harlequin Begins Vanity Press

Anyone who knows anything about vanity presses knows that they’re not respected on several levels when it comes to publishing and being published. A vanity press is called thus because it caters to a would-be writer’s vanity. In other words, a work may be published without any editorial process taking place. This means any piece of drek, shopping list, or untethered ramblings will be printed if one has the funds to bring it to fruition.

Vanity presses often take advantage of unsuspecting new writers who aren’t aware of the full process. For a fee the press will publish your book. Or you have won a contest and your poem/story will appear in the lovely print edition and you can order a copy for $34.95. The publisher doesn’t pay you for your work and basically puts your work, no matter how bad, into the volume so that you, your friends and family will buy copies to show that you’re a published author, not realizing that this isn’t the real realm of publishing.

What happens is that writers are paying the publisher and that’s who buys the books. It isn’t readers interested in the story, just a very small group or just the writer. Little to nothing is spent on marketing and what is, is aimed at the person who submitted the work.

In the past I submitted poems to a poetry contest, only to find out I had “won” and that it was a vanity press. I withdrew my pieces and never looked at those “publishers” again. Self-publishing is also considered vanity press even if someone else (a printer or book packager) puts the book together. A person who pays on their own (as opposed to so-called winners) to have a book edited, laid out, printed and bound is usually considered to be vanity publishing unless they’re trying to put out other books besides their own. They might still have to go through the very hard work of marketing and distribution. Without these important elements, the books sit in the basement.

Small presses should not be confused with vanity publishing. Those who venture on their own to publish their books do so for a variety of reasons. The book may have been turned down by agents and publishers, or the person may want to get a message out there or just sell on their own for whatever reason. Sometimes a self-published book is picked up by a major publisher. But that is a very rare thing. Otherwise, a person makes a cost outlay of anywhere from $1000 to $10,000-plus for editing, production and publishing of their book and if they’re lucky, they may recoup what they put into it. Often they don’t make back their cost so the pay to play.

It is alarming and very odd when a  well-established publisher decides to start another imprint whose sole purpose is to be a vanity press. Harlequin is the biggest romance publisher in the world and has a huge sell-through rate on their titles. They shouldn’t be hurting for money. But they decided to team up with a print-on-demand vanity press call Author Solutions. After outcries from the Romance Writers of America (RWA) and the Science Fiction and Fantasy Writers of America (SFWA) Harlequin has taken the name of Harlequin Horizons off of the imprint.

Harlequin reported amazement and as of today changed the name to DellArte Press Book Publishing Services. However, RWA said Harlequin books would not be eligible for any awards and SFWA said all Harlequin books/stories would not count as eligible as a membership fulfillment unless they removed themselves from self-publishing. I doubt the name change will be enough for RWA and SFWA.

I can’t help but wonder why Harlequin even needs to get involved. They’ve been branching out into supernatural and SF romance and shouldn’t need to dupe dewy-eyed writers into parting with money to see their names in print and in hopes of getting to be a Harlequin author. Letting a would-be author think they have a chance of getting their story picked up by first self-publishing it is disingenuous. I checked out DellArte, which has little price packages that start at $599 to $1,599, but that only gets you 5 to 25 free copies, and after that you’re paying extra. That doesn’t cover a full edit at all either and even at $342 (editing services)  it will give you a partial review of a chapter or two. You’ll pay for other copies and I’m sure by the time you’re done you’ll have forked out at least $5,000. If the cover price of a trade paperback (the size they’re advertising) is $14.99 (very cheap and probably higher) and you get it at say, 40% off of cost (the regular retailer discount), that means you make $6 and would need to sell around 833 copies to break even.

Not that many if you’re marketed like Stephen King. But chances are there is little marketing and you’ll have to do most on your own. DellArte offers in the upper end of prices a standard publicity program, which really amounts to a written press release. You still have to do the marketing and distribution is probably all in your lap. So you’re in the same seat as if you went out and found a printer on your own. I’d be interested to know why Harlequin even thought they needed to do this. For various takes on this, follow the links.

 http://www.sfwa.org/2009/11/sfwa-statement-on-harlequins-self-publishing-imprint/

http://www.dellartepress.com/

PublishersWeekly

I also wrote them as if I was a new author with my book ready to publish in 1-3 months. They said someone would get back to me and what I received was a computer generated reply, which follows:

Congratulations on starting a new chapter of your life by exploring self-publishing. We are glad you contacted DellArte Press to start your publishing journey.
 
DellArte Press is designed to help aspiring romance and women’s fiction writers publish their books and achieve their dreams. No matter what the end goal for your book is we have the resources and staff to help you reach that goal. Our professional support team will walk with you every step of the way, so please let us know how we can assist you.
 
Your first chapter in publishing is to explore our Standard and Specialty Publishing Packages. Please visit our Publishing Packages page on our Web site to see how each package uniquely meets your publishing needs. We also offer additional services you can add to your package to give your book the professional and polished edge it deserves.
 
We’re here to help you select the best package for you, and we’ll be in touch soon to discuss your specific book and your goals. If you are ready to get started right away, you can call us at(877) 217-3420 or e-mail
customersupport@dellartepress.com.
 
Publishing with DellArte Press offers several advantages:
Discovery Opportunities – Titles published through DellArte Press will be monitored for possible pickup by DellArte’s traditional imprints
Global Distribution – Extensive distribution networks through Amazon.com, Barnes&Noble.com and others ensure that your book can be purchased by anyone, anytime, anywhere
Creative Control – It’s your book from start to finish
Professional Editors – Choose to utilize our editors to ensure your book is error free
Effective Marketing – Hire a publicist, have a video book trailer created, set up an author Web site and more
Accessible Support – Easy access to our professional support staff so you’re never left to answer questions on your own
Next Steps: Define Your Desire
 
Your next step is to define your goals and desires for your book. Whether you want to publish just for fun or to achieve commercial success, we can help. One of our Publishing Consultants will work with you to determine the best options for your publishing needs so your goals are met. In the meantime, if you have questions, please call (877) 217-3420 or visit our Web site at
www.dellartepress.com.
 
We understand that your time is precious and you may not always have a lot of time for yourself. We encourage you to indulge your passion for writing and begin the next chapter of your life as a published author. We look forward to working with you to help make that dream come true.
 
Sincerely,

The Dell Arte Press Team
DellArte Press
1663 Liberty Drive
Bloomington, IN 47403
Phone: (877) 217-3420
Fax: (812) 355-1561

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Google Book Settlement

The Google book settlement hits its deadline on May 5, 2009. Before this date, if you have ever written anything that was published in the US (or possibly distributed into the US) you will want to read the long and convoluted double speak of the settlement issues. You must choose to opt out, stay in and/or write and comment by this date. If you are an author, publisher or otherwise know someone in the business, then I encourage you to immediately go here and read all about this before you lose rights you didn’t know you were losing: http://www.googlebooksettlement.com/r/home

I first discovered some of my short stories, published in an anthology being displayed on the internet through Google. When I searched I could get all but one page of my story. If I searched from a different computer I could get the missing pages. I was shocked at the wholesale copying, with no authorization or signing of rights having been given for electronic rights. At that time I contacted the editor of the anthology and she told me that she was just as shocked.

As time rippled along, authors and publishers banded together and approached Google. The Book Settlement resulted. Now, if we back up a bit many of us will remember a time before Google but after DOS. The internet had search engines like Lycos and Yahoo and a few others. Then Google came along, big, better, the giant fish that swallowed the smaller fellows. Then Google did this cool thing, taking satellite images of the whole planet and Google Earth was born. You could zoom in on any part of the planet and look at it as it is. Then Google started driving up and down every street in every city, scanning in houses, street signs, corners, you name it. And people started getting a bit worried when they did a Google search and could see themselves in their yards or living rooms, or wherever.

And Google of course said, oh we blur the faces but people said they could identify people. And Google said, well if you let us know, we’ll remove the image.Google did the same with numerous books, scanning them in, popping them up on the internet even though people had not sold or authorized digital rights. My vanity search today shows that those titles in which my stories were almost completely visible are no longer up (while the settlement is being settled at least). The settlement is long, full of legalese and double takes to the point that I think only a copyright lawyer might follow it completely. In the long run, Google argues, this will be a good thing for authors where they will get 63% (of sales from these visible scans), that no more than 20% of a book will be visible, that libraries can have digitized copies, etc. And probably it will be a good thing.

However, within all that mire that I’m still wading through and trying to figure out before I write my letter of comment, there are provisions for Google to have more rights to your work should it not be in print. Even when a person’s book is no longer in print, that person still holds the copyright on their work but Google somehow thinks they will then have the right to digitize it. There are other such caveats that already have my head spinning.

Strangely this gives Google the right (in their minds) to scan, copy and digitize anything anyone sees and only if you complain or notice will they remove it. Can anyone say, Big Brother is Watching? We have a right to some privacy whether we’re doing anything bad or not, but because Google shoots first and ask questions later (or does as they please and waits to see if a lawsuit ensues) they’re getting far more by just taking. I find this hugely disturbing with ramifications that people haven’t seen yet. The biggest problem is devil or the deep blue sea of the settlement: if you opt out, you can sue Google or complain about the books they’re scanning in but they may still do it anyway. If you opt in, you can’t sue Google and they will scan your books. There are areas where you can ask them not to display your book (or your story in an anthology) should they scan it but there are so many exceptions I’m not sure it doesn’t mean they can do what they want no matter what.

Actually a problem even bigger than this is : why does Google get this settlement worked out that gives them a whole helluva lot of rights over written works? Why only Google? Why doesn’t the settlement mention other possible publishers, authors and digitizers of media? Because people were suing Google. But…this now sets up a precedent of exclusivity and I worry that in the future should I want to digitize my own book that I may need Google’s permission. Or that any out of print and public domain book (think Shakespeare, Hans Christian Andersen, Greek myths, fairy tales, etc.) will now only be exclusively digitized by Google. This large Chthulhian entity with many limbs of legality and money in its maw could swallow everything including our rights, our privacy and our ability to differentiation. And when it gets right down to it, I smell monopoly and that worries me a lot.

On the SF Canada writers list we discussed this quite a bit. Cory Doctorow, http://craphound.com/writer and co-editor of Boing Boing http://boingboing.net/ was very involved in the discussion. Someone finally asked him what he thought about the Google Book Settlement. He and I are pretty much on the same page. As Cory is more knowledgeable of the intricacies in the settlement and Google I asked if I could put his response here:

I think it missed the real point, which is competition. The risk to writers is that Google might end up having a disproportionate control over the distribution channel. The risk arises from Google ending up with exclusive rights to material, and from the cost of entry to its competitors.

The publishers had leverage to fix both of these, by saying:

* We will offer a feed of all our books in digital form to every search company or tool that wants to index them (much like the machine-readable digital feeds coming out of change.gov and the Obama administration)

* However, NO company may have this feed, UNLESS they agree that any public domain works they scan will be freely downloadable by their competitors. Right now, Google’s arrangement with the libraries and collections they’re scanning involves exclusive access to the public domain works in their collection (many of these are very rare). This means that GOOG might end up the sole holder of a collection encompassing millions of PD works, which enshrines a permanent advantage to Google through contract terms restricting otherwise free media, which will prevent their competitors from having a level playing field.

Contrast this with the existing settlement, which basically says:

1. Google can go on treating the public domain as private property

2. Anyone who wants to compete with Google should be prepared to spend millions in legal action with the publishers, so only the richest, least lawsuit-adverse competitors need apply

Google was able to completely change the Internet’s ecosystem and destroy several extremely well-capitalized competitors from a standing start — literally two guys in a garage — because the cost of entry was low and because there was nothing about the web that Altavista, Yahoo, etc. could index that Google couldn’t index as well.

The competitive market for search produced an amazing, world-changing array of services and tools that have given us all a better life.

Now, Google is trying to enshrine its victory by changing the search landscape, creating a web of contracts and legal settlements that will permanently prevent competitors from competing with it head on. They tried it (and failed) with Google Video. They tried it (and succeeded) with YouTube, through their settlements and exclusive content deals with video companies. They tried it (and succeeded) with their Google Print settlement.

Writers’ best future comes from having a fractured, competitive market for search, distribution, publication, discovery — all the services that comprise the channel through which our audiences discover, consume and publicize our material.

The best way to get that is to *reduce* the cost of entry for competitors, which means that the cost of entry *cannot* include 20 million dollars in legal fees and twenty billion dollars in potential liability.

If the price of admission is a staff of high-powered attorneys and the capital to face massive liability, expect a future characterized by a few gigantic media oligarchs to whom we must go, hat in hand, to beg for crumbs.

Cory

***

THE SETTLEMENT NOTICE I RECEIVED:

You are receiving this notice because our records indicate you are an author or author’s heir or successor, and your legal rights in the United States may therefore be affected by the settlement of a class action lawsuit in the United States regarding Google’s scanning of books and other writings.

 A summary of the Google Book Search settlement appears at the end of this email.

 Detailed information about the settlement is available at http://www.googlebooksettlement.com.  Please read the full Notice, which has detailed information about the settlement, important terms, the claims process, and key dates.  It is available at http://www.googlebooksettlement.com/notice.html. These documents and assistance with the claims process are also available from the Settlement Administrator by email (booksettlement_en@rustconsulting.com) or telephone.

 If you have questions about the settlement, please visit http://www.googlebooksettlement.com or email the Settlement Administrator at booksettlement_en@rustconsulting.com.  If you have questions about distributing the Notice or about the ongoing program to notify class members worldwide about this settlement, please contact the Notice Provider at GoogleSettlement@kinsella-novak.com.

 Sincerely,
Google Book Search Settlement Administrator
booksettlement_en@rustconsulting.com

Legal Notice

Persons Outside the United States: This settlement may affect you because it covers U.S. copyright interests in books published outside the United States. If you hold such an interest in a book or other material in a book, this settlement will bind you unless you timely opt out.
——————————————————————————–

If You Are a Book Author, Book Publisher or Other Person Who Owns a Copyright in a Book or Other Writing, Your rights may be affected by a class action settlement regarding Google’s scanning and use of Books and other writings.

Authors and publishers filed a class action lawsuit, claiming Google violated the copyrights of authors, publishers and other copyright holders (“Rightsholders”) by scanning in-copyright Books and Inserts, and displaying excerpts, without permission. Google denies the claims. The parties have agreed to a settlement. This summary provides basic information about the settlement. “Books” and “Inserts” are described below.

What Does the Settlement Provide?

The settlement, if Court-approved, will authorize Google to scan in-copyright Books and Inserts in the United States, and maintain an electronic database of Books. For out-of-print Books and, if permitted by Rightsholders of in-print Books, Google will be able to sell access to individual Books and institutional subscriptions to the database, place advertisements on any page dedicated to a Book, and make other commercial uses of Books. At any time, Rightsholders can change instructions to Google regarding any of those uses. Through a Book Rights Registry (“Registry”) established by the settlement, Google will pay Rightsholders 63% of all revenues from these uses.

Google also will pay $34.5 million to establish and fund the initial operations of the Registry and for notice and settlement administration costs, and at least $45 million for cash payments to Rightsholders of Books and Inserts that Google scans prior to the deadline for opting out of the settlement.

Who Is Included?

The settlement class includes all persons worldwide who own a U.S. copyright interest in any Book or Insert. The meaning of “U.S. copyright interest” is broad. Wherever you are located, please read the full Notice to determine whether you are included in the settlement.

There are two Sub-Classes:

The “Author Sub-Class” (authors of Books and other writings, and their heirs, successors and assigns), and
The “Publisher Sub-Class” (publishers of Books and periodicals, and their successors and assigns).
What Material Is Covered?

“Books” include in-copyright written works, such as novels, textbooks, dissertations, and other writings, that were published or distributed in hard copy format on or before January 5, 2009. U.S. works must be registered with the U.S. Copyright Office to be included in the settlement. “Books” do not include periodicals, personal papers, sheet music, and public domain or government works.

“Inserts” include any text and other material, such as forewords, essays, poems, quotations, letters, song lyrics, children’s Book illustrations, sheet music, charts, and graphs, if independently protected by U.S. copyright, contained in a Book, a government work or a public domain book published on or before January 5, 2009 and, if U.S. works, registered (alone or as part of another work) with the U.S. Copyright Office. Inserts do not include pictorial content (except for children’s Book illustrations), or any public domain or government works.

The Notice contains a more detailed description of these terms and other essential information about the settlement.

What Should I do?

Please read the full Notice, which is available at http://www.googlebooksettlement.com. Decide whether you should:

  • Remain in the settlement. If you do so, you will be bound by the Court’s rulings, including a release of your claims against Google.
  • Object to or comment on the settlement. You must object/comment in writing by May 5, 2009.
  • Opt out of the settlement and keep your right to sue Google individually. You must opt out in writing by May 5, 2009.
  • File a claim for a cash payment (if you are eligible to do so). You must file your claim by January 5, 2010.


The Court has appointed Class Counsel to represent the two Sub-Classes. If the settlement is approved, Class Counsel for the Author Sub-Class will request attorneys’ fees and expenses that Google has agreed to pay. You can also hire your own attorney at your own cost.

The Court will determine whether to approve the settlement at a Fairness Hearing on June 11, 2009 at 1:00 p.m.

Get Complete Information, Including the Full Notice:

Visit: http://www.googlebooksettlement.com
Call: Toll-Free 1.888.356.0248
Write: Google Book Search Settlement Administrator, c/o Rust Consulting
P.O. Box 9364, Minneapolis, MN 55440-9364 United States of America

 This message (including any attachments) may contain confidential or otherwise privileged information and is intended only for the individual(s) to which it is addressed. If you are not the named addressee you should not disseminate, distribute or copy this e-mail. Please notify the sender immediately by e-mail if you have received this e-mail by mistake and delete this e-mail from your system. E-mail transmission cannot be guaranteed to be secured or error-free as information could be intercepted, corrupted, lost, destroyed, arrive late or incomplete, or contain viruses. The sender therefore does not accept liability for any errors or omissions in the contents of this message or that arise as a result of e-mail transmission. If verification is required please request a hard-copy version from the sender.
Rust Consulting, Inc.
www.rustconsulting.com

(Note that since I was the intended addressee I seem to be able to disseminate this and there is no reason to hide it.)

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Writing: The Great Wheel of Publishing

 This wheel is large and ungainly, held together with sweat, tears, slush pile manuscripts, spit, unbought or returned books and elbow grease. It lumbers along, turning ever so slowly, sometimes looking more as if it will tumble over then keep rolling. But roll it does, usually, sometimes losing an author, or a novel, some staff or advertising revenue. It does not turn smoothly but continues until the gap of lost material becomes so big that the wheel must be overhauled.

Such is the case with various publishers along the long road of years. Ten years ago I was trying to get copy editing work with US publishers. This Herculean task met many difficulties. Publishers and the editors in charge are over-busy, always reading and procuring manuscripts and then going through the myriad phases of production. Send a letter and if it isn’t imperative to answer (we want your manuscript, pay our invoice) it never gets answered, not even if you include a SASE and you’re looking for employment. The next stage is to phone and hope you get the right editor in the right department. Should you call and only get their voicemail, presume they won’t return your call. And if you live on the west coast and have a three-hour time difference it will take early hours and a crystal ball to figure out the best time and day to try and catch and editor. Give up on Fridays altogether.

Should you get through these first layers of the publishing house inferno, you will most likely get a copy editing test. Once that’s done you send it back. I did two over two-three years with Tor, where they subsequently lost the test both times. Then said oh well you have to go through St. Martins as they’re our boss. Uh, they didn’t know this beforehand when they gave me the test? And Ace gave me the test; I sent it back and heard nothing. When I queried twice they said, oh we can’t hire Canadians. I didn’t know that when I sent you a test. Great, I’ve had a lot of practice with editing tests.

With Harper Collins, I passed the test. Then they sent me disks because they used a specific computer-based editing system. (This was about ten years ago and I’m not sure Word’s track changes feature was that developed then.) So, I received the disks but then had to buy a new computer because I didn’t have the memory capacity. At that time the guy who was going to train me was on holidays for a month. When he got back, he quit. So they were then trying to find someone else. In that time, they also bought out Avon books.

What ensued was two years of frustration and nary a job out of it. The editor I was dealing with was transferred to a different dept., then let go. Others came and went. I was given various names of people and would call every month. Each time I had to explain the situation who I had talked to, where it had changed, what area of copy editing I specialized in (SF/spec fiction) etc. Each time, it was a different person, a new department, a new system. Two years of calling every month after being told I would be hired as a freelancer and I never got one job out of it. But I had a bigger, better computer.

Over the years I have edited for a few US publishers and Canadian publishers but the sheer frustration of getting New York publishers was enough to stop most people. You really do have to live there. The longest stint I had copy editing with one publisher was three years or so with Byron Preiss book packagers (now gone the way of the dodo). And I got my first job because I was at the World Fantasy Convention standing in the lineup for the hotel. The guy in front told me he had just got a promotion to editor and I said, hey do you need any copy editors. He said send a resume when you get back but before I could he called because he had a rush job. Keith DeCandido gave me my first real break in copy editing. He quit before the company imploded and I had stopped doing work form them before that because getting paid was becoming difficult. He now writes novels. I now think of writing my novel, still copy edit and still write.

Other hurdles in the publishing world are managing editors who ask you to copy edit but don’t clarify by how much. Some publishers (or working on some authors) means that you’re required to only correct typos and punctuation. Copy editing is more than this and includes correcting sentence structure and continuity. It can be structural editing, which looks at the overall structure of chapters, pacing and flow, or very close to proofreading. Over the years I have found most companies who wanted proofreading really wanted more than that.

It’s common for individuals looking for an editor to say they want proofreading when in almost all cases they mean copy editing. It can be confusing for the new writer but just as confusing for the freelance editor. I’ve had publishers cancel a project in the middle (they were moving into movies, but did pay for what I’d ) or wanting a book padded (requiring that one line paragraphs be left in and the worst sentences be reworked but not deleted).

Publishing houses usually have a house style and often a style sheet. If they don’t give me one, I usually ask if they have a house style as it can affect the overall product. I’ve started to see some weird things in some books of late. Tor is an American publisher yet I’ve seen a book or two done with British spellings. In one case it may have been to give it the flavor of an earlier era as it was about a world in the 1800s.

But editing and acquisition of books are just a couple spokes of that great wheel. There is design production, advertising, marketing, distribution, return and paying the employees, artists and authors. Some spokes seem to have more weight, or, if you were looking a wooden wheel, some would be sturdier or decorated, but without all of the spokes the wheel fails. And to carry the analogy to the end the hub of the wheel is the writer and the publisher. Without the writer there is no story to sell. Without the publisher there are still stories but it’s harder to get them out to the public.

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Writing: Mass Marketing & Book Stores

Yesterday I wrote about the demise of bookstores and received this reply from Carolyn Gordon http://creativewellness-carolyn.blogspot.com

I found this an interesting look at the book shop industry. My position on this is as a writer and avid reader. I have to admit I don’t have terribly books published as yet, and I get most of my books from the library, but I have a few ideas.

I’m wondering about the rise in self-publishing. I feel partnerships of self-publishers and independent booksellers could really make a go of it if they got organised.
Self-publishers would have a place to distribute their books, booksellers would have a large range of quirky books to sell.

Maybe I’m a dreamer who had fantasies of running a bookshop and reading books all day, but it’s an idea. Ideas are good things, aren’t they?

Of course all publishers have distribution warehouses, whether their own or a contracted one, with reliable shipping and distribution. If the publisher is a small press, they may mail out/ship their own books. Distribution is the hardest part of the game. You might have the greatest book since the Bible but if people don’t see it, they can’t buy it. The other part of this is, of course, advertising.
Now we get to Carolyn’s point about self-publishers and independent book sellers. The problems I just mentioned can affect the self-published author. How do you advertise and distribute your book? Should you be successful in advertising, how do you get the book to a hundred different bookstores across the country and in a timely manner? I have edited a fair number of manuscripts, some of them then self-published to different success levels. The most successful was the one called Where to Walk Your Dog in Vancouver. Ross had me edit for grammar, consistency and style, as well as checking the page proofs. He did his own layout and then took the book to a printers. The cost breaks are usually at 2000 books. He also found someone to distribute his book and it was region specific. He sold out his first run.
With mass market publishing, publishers may print 50,000-100,000 books or more…or less. Hardcovers would start at 2000 and go up depending on the popularity of the author. This model may have changed in recent years, which I found out when I asked a published friend when her book (in hard cover and trade paper) was going to go into mass market. She said her books didn’t sell enough to warrant mass. In the days of old new authors would be published in the paperback format first and only if their names and stories caught on would they go to hard cover or trade. Nowadays the publisher would rather only make 2000 books than have 45,000 returned.
So a self-publisher may have to deal with what to do with books that don’t sell. It may be bite the bullet and leave them there until they’re put in the super cheap discount bin, or going around to local bookstores dropping off and picking up copies. At the bookstore I was at we sometimes had local people come by with books and comic/graphic novels. They were often sold on consignment, which can be 60-40, 50-50, 40-60 or any other amount in between. Often the books didn’t sell and the author never came back for them.
Self-published books can also range from really good to abysmal. There is no editor or publishing house saying, this doesn’t meet a set of standards. At the same time when publishing houses have a set limit on what they can and will publish it allows an author another way for their work to be seen. A smart author will get some professional copy editing. It will make the book look more professional but there is no guarantee that it will sell. Understanding or paying someone for graphic design and layout will also help.
So yes, a bookseller might take self-published books but it would take some severe dedication on the part of the the self-published author. There is the in-between world of print on demand (POD), which is being used moreso by authors and publishers, especially those that run small presses. I don’t know enough about this area to talk knowledgably on it yet.

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Writing: Advice on Getting Published

A little while ago someone asked me:

 I am here desirous to find a faithful publisher for my book…. What useful counsel can you give to me.

I’m not sure what is meant by faithful publisher but finding a publisher is a mixture of you wanting them and them wanting you. There are literally thousands of publishers. There are some that publish all types and genres and others that specialize. So the first thing to do is figure out if your book is a how-to, a biography, history, fantasy, romance, literary, sports, spiritual, etc.

Once you know who your reading audience is, you can then research publishers. Writer’s Digestputs out a series of books on markets. They’re specific, such as, literary markets, short story markets, romance markets, etc. These books give good information on how to write a query letter, which is the first step to what to include in your submission package. Some publishers only want a query letter. Others want a letter, a synopsis and the first three chapters. Some only want agented submissions, which means you must go through the process of querying agents first. It’s best to read up on what the publisher wants first. They received hundreds of manuscripts and someone who hasn’t bothered to research the market and sends something in the wrong format or way is likely to piss off an editor and have their manuscript tossed.

Writer’s Digest also lists publishers and markets, giving short descriptions, addresses and editor names. It’s good to read up on the advice and then to start submitting. It’s important to make sure you submit your manuscripts in the proper format, which in most cases is double spaced text, no extra space between paragraphs, regular font and size, no right justification, word count, page numbering and name. There is enough information out there that tells you what to send and what not to.

Outlines by chapter, or synopses also are often required so make sure they’re laid out well and contain what is the main action/point of each chapter. Taking courses or workshopping manuscripts as well as outlines is not a bad idea. And of course, making sure your manuscript is polished and free of as many grammatical and spelling errors as possible does improve your chances.

Besides researching the right publisher for your manuscript, it’s not a bad idea to check the legitimacy and publishing record of a publisher. Find out what they’ve published and do internet searches both on the publisher name and the book titles they’ve put out. There are vanity presses that charge you to put everything together. Your chances of making a profit are small. There are print on demand publishers that will work out a deal for self-publishing but depending on how they’re set up, you will need to figure out how to advertise and distribute your book. Unless you know what you’re doing, you could have some very expensive doorstops and going with established well known publishers with marketing departments and established distribution is worth it’s weight in gold.

I once edited a book for a friend who was writing a guide on places to walk your dog. He did his own layout and found a printer. Then he found a local book rep who would market it to the bookstores and see to distribution through a local book distributor. That worked well but the book was locally focused. In most cases you’re going to want national distribution if you hope to make any money or sell your book.

Then all you have to do is keep submitting your book to publishers until they bite. Sometimes they’ll ask to see a few chapters, and then they may ask to see a full manuscript. This process can take months. Expect the average of three months before seeing a reply to even a query. It’s best to send out query letters to many publishers at once. Persevere. Like writing it takes work to get published and some is just the persistence of sending out your manuscript until you hit the right publisher at the right time.

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