Exploring Books, Life, and Writing
When it comes to the digital future of publishing, we as publishers can be our own worst enemies.
Everyone seems to agree that electronic books will be a significant part of the world ahead. The only disagreement is how fast this new publishing environment will emerge and in what form. One of the major barriers to any form of digital publishing, however, are the permissions policies of publishers themselves.
Continue reading “Our Own Worst Electronic Enemies”
Free is a very good price. That is one of the key advantages of publicity, as everyone in publishing knows.
Why does this work? Because, as our friend Tom Woll says in Publishing for Profit, book publishers “are information and content providers . . . [who] have the very material that these media outlets need for their own survival” (p. 207).
Continue reading “The Beautiful World of Publicity”
Well, it happened again yesterday. An editor e-mailed, wondering what I thought of his memo. I said I’d be glad to respond as soon as I got a copy. Shortly after clicking “send” I was pawing through my in-basket and saw the memo which had been sitting there for a month!
Continue reading “Murphy Meets St. Anthony”
There is a misconception abroad that white folk have no ethnic culture. We are, well, plain vanilla folk who lack the distinctive zest and pizazz of other groups. Not so. Here is a fun eye-opener squashing that myth which folks in publishing will no doubt especially enjoy.
The key personnel gathered. “Listen,” said the publisher. “A publisher went out to publish. And as he published, some books fell on deaf ears. And the remaindering houses came and snatched up the excess stock at a fraction of its cost. Other books fell on hard-headed readers where the ideas were not able to root deeply in their minds. So as soon as the readers’ preconceived notions arose, the ideas from the book withered away. Other books fell among a huge glut of other new books and choked out the shelf-space, so the books were not seen. Other books fell into fertile minds and grew there, making a difference in the readers who in turn touched the lives of thirty, sixty or even a hundred other people.”
Continue reading “Publishing Is Like . . .”
“Design, production, and manufacturing, in many publishing houses, are not considered as glamorous as editorial or sales, and may be looked upon a secondary. They should be viewed as quite the reverse,” says publishing guru Tom Woll (p. 161). Why? Well, how many times have design and production saved editorial’s and marketing’s behind when an author was late or a book needed to come out early? How many times has great jacket design made customers give a second look at something new? And how much money has been saved by shrewd print buyers?
Woll rightly points out, however, that it is unwise and unfair for others always to rely on production to bear the burden of fixing problems. When it comes to scheduling, one guideline we’ve implemented with some success is this: Do not schedule a book for publication until the revised manuscript is in hand.
That could sound draconian, but it works. Why? Authors may not always meet their deadlines because they are not employees of the publisher. So editors, as peers, have a limited set of tools they can use in working with authors to stay on schedule. But authors always want to know, “When will my book come out?” (Not so subtle subtext: “the sooner the better.”)
Typically the answer would be, “In nine to twelve months.” By saying it can be scheduled only when the final draft is in hand puts responsibility (and motivation) properly in the author’s hands.
Exceptions? Certainly. A big upcoming event for which the book must be available. A big-name author whose bestseller is wanted by marketing (and probably finance) for this fiscal year. But those should be exceptions, not the rule.
That’s just one idea for trying to deal with the scheduling dragon. Any other good ideas out there?