Posts Tagged business
I’ve had two questions recently about small publishers. First, Stacy Green: ‘Do you think self-publishing is a better option for new authors than a small publisher whose focus isn’t solely on the next bestseller?’
Also Tahlia Newland: My agent is waiting for the last 3 big publishers she queried for my book to get back to her. If no one wants it, it’s just small publishers left. I’m thinking I’d rather ebook self-publish than go for a small publisher who hasn’t got a big distribution. I’d be doing most of the publicity anyway, so why not be in a position to keep control and maximise profits? What do you think?
There’s an excellent piece here by Michelle Davidson Argyle on what a publisher should be able to do for you.
What I’ll add to that is my own opinion, from my own experience and that of author friends.
The term ‘small publisher’ can cover anything from the small adventurous imprints started by publishing professionals who have decamped from the major companies – to decidedly less qualified outfits led by people who are chancing their arm at publishing. With varying motives.
Quite clearly, the publishers started by the publishing professionals will have the edge. They have the experience, the expertise and the contacts – and you can weigh up an offer simply by googling them and finding out about their reputation. But some small – and micro-small – publishers may not be as good for you as going it alone.
It all comes down to what they will give you in return for the chunk they take and whether that suits you. And in some cases, you have to be able to assess whether they are properly set up to do the best for your book. Leaving aside the crooks, some of the very tiny publishers do not have enough experience in key areas of the business – but they don’t know how important those are. You’ll see from my horror stories below.
But first, here’s a run-down of the major areas in which a publisher can help you and the self-publishing alternatives.
Editorial help certainly can cost. If you go it alone you can hire a professional to do this, but it’s a hassle to set up and takes time away from your writing.
Art, editing and formatting all come with the package when you sign a publishing deal. Even harder to put a price on is the input of an editor who is in tune with what you want to do. The right editor, who chose your book from their company’s slush pile, has fallen in love with your work – unlike an editor you hire. Any good editor can make you better than you believed possible, but one who had to woo you will probably go the extra mile (provided you agree with their vision). They can guide you to revise and revise, and can reassure you when you’ve done enough. An editor you hire can only carry on as long as your purse can hold out. Having a trusted team around you who are helping you hone your book is terrific and irreplacable.
However, if you’re tied to a publisher you’re tied to their professionals. You may love the words people, but not like their cover artwork at all. And you may not get much clout to refuse cover designs you don’t like.
Moreover, you might be right to distrust those designs. I looked at the list of one small publisher and thought at first they were producing municipal leaflets – all their fiction had ugly covers produced with the one template. Yet they’d managed to get authors to sign up with them.
Distribution is where your book is stocked. If you go it alone, you can buy packages for this from the POD companies but if you don’t know what you’re getting how do you know what’s worth paying for? And let’s face it, it’s the least creative part of making books, so who has the patience to become expert in it?
But the grass isn’t necessarily greener in a publishing deal. Especially in companies that were set up solely by editorial or production people. And have never had to handle distribution. And don’t know what they don’t know.
I know of one publisher who produced beautiful copies of an author’s work – superior even to the very good quality that POD can produce – but couldn’t organise how to get the books onto Amazon. Instead they sold them through ebay, where no one buys books, and through an obscure website for that genre. They sent the author to a major fair to showcase his work and couldn’t arrange for copies of the book to be available there so that they could be sold. They got reviews in major magazines and the book still isn’t on Amazon.
Another question you have to ask yourself is: what is the publisher’s market reach? Can they market to more readers than you can on your own?
Publishers with rigorous selection procedures will be able to get reviews in places that never touch self-published works – such as the national newspapers. That’s a gate you simply can’t open on your own, no matter what you do.
But a couple of reviews aren’t enough to sell your book. You need other gates opened too – to wider audiences. I know of several small publishers who are well enough connected to be able to get reviews in influential places. But some aren’t at all, regardless of how much they talk about how passionately they love good books. Now that we all build tribes, this aspect of a publishing deal is like royal marriages. Some publishers’ tribes aren’t as big as those of some bloggers!
What rights do they keep?
This is a thorny question indeed and is why it is good to have a reputable agent on your side. I’m not offering legal advice here in any capacity, and every single case is different. So if you are currently studying the fine print of an offer and are worried about it, please get proper help. If you don’t have an agent, a rights lawyer can do it for you – although it will cost you (which is one of the reasons why an agent deserves their percentage).
Traditionally, most books are ‘in print’ for a period and once the run is sold they go ‘out of print’ or are printed again. After a certain period you may get your rights back or your contract may come up for renegotiation. Sometimes you can take the book elsewhere if you want.
Many small publishers launch a book through e-editions and print on demand. Print on demand allows a publisher to print a book only when it is needed, saving on warehousing. If a publisher uses POD, they might have a clause that says they will keep your book in print in perpetuity – and that means you can never take advantage of a better offer from somewhere else with a more prestigious reputation. Of course, to look at it from their point of view, they don’t want you using them as a stepping stone to something better, after they’ve put so much effort in (which they may or may not have, of course). Although any legal agreement can be undone if it’s wrangled enough, that’s messy and expensive.
There might even be clauses governing what you may work on in future and who owns it.
Let’s not throw the baby out with the bathwater. We mustn’t forget that being published is the most important milestone a writer can imagine. What most of us want to do is write great books and find someone to handle the less interesting jobs and treat us fairly. A publishing offer may indeed do this. More than that, it may give you moral, emotional, practical and technical support that is beyond measure, pulling you out of isolation and into the ‘proper’ world of writing. After all, it’s not just about money; writers have an innate urge to share, communicate and to know our work is cherished.
But any deal you do is also a business deal about your career. Not all businessmen are nice. Or some may be terribly nice and awfully incompetent.
If you get any offer from a small or micro-publisher, look very carefully at what they will give you for what they will take.
Thank you, Very Urgent Photography, for the picture
Do you have any experience with small and micro-publishers? Share in the comments!
Oh – shameless plug – My Memories of a Future Life launches on August 30!
A crucial part of introducing your novel to agents or directly to readers is identifying your novel’s central theme. But that can be mighty hard to do. Here’s how I did it
Final tweaks are being twaught. Kindle hell beckons. Blurb hell too. But cover hell is over, at least the front.
And what theme is this pretty book scratching away at, you may ask? What questions are burning out of the red piano and the blue sky?
Answering that has caused me considerable grief. The journey in the book takes 100,000 words. How do I find one sentence – just one – that captures the heart of it?
It took me a while. Much pacing up and down.
My first thought was, it feels like it’s about the whole of life itself. Everything. The universe.
As a theme, ‘everything’ was a bit, well, vague. And it’s the very least you’d expect of a self-respecting well-rounded novel.
Then I made lists of common themes in fiction, as if I was doing an essay for A-level English. It was no help at all.
Everything seemed to fit. Love, loss, friendship, fate. Cheating, lying, haunting, being haunted. Nature, confinement, superstition, the weather. It was easier to find themes that weren’t in the book than themes that were.
I had to pull away from ‘subjects’, because every multi-layered novel will have plenty of them. So I asked myself: what are people doing in this book that gives it its distinctive flavour?
It had to come down to the MC. Her relationships. Her central problem. The patterns that repeat again and again with everyone she meets. The things she reacts to that show what she’s searching for. Her peculiar situation and what she needs to understand.
After quarrying down that seam, I had it. This is what My Memories of a Future Life is about.
How do you find where you belong?
Red piano: Bonnie Schupp Photography at iStockPhoto
Have you found your novel’s theme yet? If so, how did you do it? And if you have, share it in the comments
I did live radio last night! I was guest on Page Turners, an internet radio show on BlogTalkRadio hosted by Meg Collins, Antoinette Dickson and Nancy Denofio. These ladies live to write. Meg is a poet, scriptwriter and the author of scores of children’s books and resides at the delightfully named blog The Diary of a Starfish. Nancy is a debut poet and the author of the hauntingly titled What Brought You Here? and Antoinette is taking her first steps to becoming a published author and has a blog A Serendipitous Sojourn.
As I said, we all live to write – so of course were quite challenged to get a hook-up across the Atlantic without using Skype. Just don’t ask why we didn’t use Skype – you won’t get a civilised answer, not least because none of us know. So the first part of the show, Antoinette and I had the airwaves to ourselves while Nancy was shouting into a dead line and Meg was marooned in another pocket of communications limbo.
While Antoinette and I made writerly chit-chat we were all conducting a fraught conversation on email and Facebook: ‘Where are you?’ ‘You have to log in’ ‘I am logged in’ ‘I can see you on my desk but can’t hear you’. ‘Roz you broke BlogTalkRadio’. And so on.
But the airwave fairies released Nancy and Meg in the end, and they grilled me about how many books I’ve sold ghostwriting, my film with Matt Damon, the Morris writing household … and got me to talk quite a lot about the novel I have on submission, My Memories of a Future Life.
You can listen to it again here… and a proper post is coming tomorrow – on stories within stories, and fantasies within story worlds.
I just got Twitterviewed – interviewed on Twitter, asked enormous questions to which I had a titchy 140 characters to reply.
Twitterviews are the brainchild of Novel Publicity, which has a helpful blog and a website that offers marketing services to authors. You can find out more about Twitterviews here, including how to request one for your book or as part of your blog tour.
But get in training to be snappy – I was asked all the big questions – why I write, what Nail Your Novel is, what my novels on submission are about … answers on a postage-stamp…
Also, the other half of the Morris writing clan has been out and about in interviewworld today. If anyone’s curious about Husband Dave, he just did a considerably less squeezed, but lovely interview at Dorothy Dreyer’s We Do Write.