COPYRIGHT 2014 AUTHORS PUBLISH MAGAZINE ALL RIGHT RESERVED

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3 COPYRIGHT 2014 AUTHORS PUBLISH MAGAZINE ALL RIGHT RESERVED DO NOT DISTRIBUTE

4 QUESTIONS? to- publish- your- book/

5 How to Publish Your Book! A Practical Guide to the Publishing World By M.J. Moores Authors Publish

6 Introduction... 7 Informed Decision Making... 9 TESTING THE WATERS REady for Publication? Literary Agents & Lawyers Traditional Publishers Large Publishers Small Publishers Subsidy Publishing Vanity Publishing Assisted Publishing Self- Publishing: DIY Free Presses Owning Your Own Imprint TAKING THE PLUNGE RESOURCES... 71

7 7 INTRODUCTION One of the most daunting decisions a new author can face is what to do with his or her manuscript once it is ready for publication. Knowing more about the publishing industry will help you create an effective plan and set realistic goals for your future writing career be it full time, part time or occasional. Making the decision to publish is no easy feat. There are many factors to consider, the least of which being how much money you want to spend on this endeavour. Not everyone works well on a budget, but if you re at least aware of when and why you ll need to spend money on your journey to publication, then you ll be prepared for the hurdles yet to come. One of the biggest hurdles to overcome is understanding

8 8 where to start: agent, small publisher, or self-publishing and learning whether or not your book is as ready as you hope it is in order to take that leap of faith. This ebook will introduce you to the various methods of publishing available for consideration. We will also help you reflect on your needs and desires as a writer, so you can match them to the right option for you. The dream of publishing is broken down into digestible portions to help you feel satisfied with the answer to your question, Where do I go from here?

9 9 INFORMED DECISION MAKING Once you have made the decision to publish, you need to decide why you want to be published: For myself For my friends & family For fun For profit For the world For Myself Perhaps your manuscript or story is a memoir, an annotated cookbook of your grandmother s favorite recipes, a book of poems you ve been working on since high school, or any number of similar projects. Namely, the book is highly personal and you really only want to have a few copies printed. Essentially, this is a keep-sake item that is important to have preserved.

10 10 For my Friends & Family You feel proud of your manuscript and want to share it with others but this is not something you expect or anticipate going beyond those who love and care about you the most. You are not interested in making money or being famous or even having strangers read what you ve written, but it is important to you to have it published. For Fun It doesn t matter if you re young, old, or somewhere in between, writing is fun and can be highly addictive. You may be an avid writer or have just finished your first novel. Either way, you want to celebrate this accomplishment and simply find a way to share it with others no strings attached. For Profit You have created a book that you feel is a contender in today s literary marketplace. Whether it is fiction or nonfiction, you either know for certain or feel it in your gut that people will want to buy your book as soon as they

11 11 learn about it. Now, it s just a matter of figuring out the best way of making it available for mass production and reaching your target audience. For the World For you, the idea of getting your writing out there for anyone to enjoy and/or learn from is your driving force. It would be fantastic to make some money from sales of your book, but you know the realities of making a living writing and have a realistic opinion about quitting your day job for this new endeavour. As you learn about the different publishing options available, you ll begin to see which ones make the most sense for your personal outlook and goals. Consider also the time commitment involved in each of the following publishing options. You may like the idea of one approach, but know that doing it on your own won t work for your lifestyle. On the flip side, you may find that prestige is not your motivating factor but putting together a top product to honor your

12 12 writing and your work is, and having complete control over the publishing process fits perfectly with your ideals. No matter what, keep an open mind and weigh your choices as an informed writer.

13 13 TESTING THE WATERS Not everyone wants to be recognized as a novelist or nonfiction book writer right from the start. Many of us pick up a pen or begin typing because we have something to say or want to share. Often the idea of being published comes after a piece is written and you feel that rush of accomplishment. There are a number of resources available as alternative publication options for the casual writer, author in search of a larger community of support, or author looking to building a personal portfolio/platform: Blogs (personal, guest, book) Online Writing Communities Crowd Funding Platforms

14 14 Literary Journals & Magazines Blogs You might not naturally think about blogs this way, but blogging is often a form of self-publishing. When you submit an article, write a guest blog for someone, post one of your poems or short stories on your own or someone else s website you are making your writing available to the public at large. The same goes for the ever popular blogging-a-book. This tends to happen more with non-fiction and memoir but many new and emerging writers are attracted to the idea of sharing their work as they develop it, getting real time feedback from the very people interested in eventually buying it and effectively testing the waters. But be forewarned if you plan on submitting any content you ve already posted online to a traditional publisher, literary journal or magazine they will likely not accept it unless you have a large following of readers and/or intend to put a new or additional spin on the work. You have

15 15 published it after all, and they need to be certain that you haven t exhausted your niche market. Online Writing Communities If you like the idea of building a fan-base, interacting with other authors in your preferred genre(s), and getting feedback on your work as you develop it (and show it off when it s done) then perhaps a writing community is the best fit for you. There are any number of online communities where you can share your work, get feedback, and submit final content for various considerations, so it s really just a matter of doing a web search with your genre and writing community to see what s out there. Some of the more frequented communities are Wattpad, ABCTales, Authonomy, and Figment. In these options you are usually able to complete a profile page (to various degrees), upload your WIP (works in progress), ask for and give feedback. If you participate on a regular basis you can really build your portfolio and that can sometimes help down the road if you decide to make the leap into a bigger publishing venue

16 16 you already have a body of work you can refer to. Crowd Funding Platforms One way to get funding for your writing projects is to utilize crowd sourcing. I have seen authors set a modest goal of a few hundred dollars to help them with publicizing their soon-to-be launched self-published book, all the way up to thousands of dollars for graphic novels with authors committed to getting endorsements and contributions from well-known artists as well as needing money for the fundamentals of self-publishing. Kickstarter and Indiegogo are two of the biggest names out there for crowd sourcing on any platform: art, music, writing, inventions, gaming, etc. Basically, you build up a profile for your project, set different levels of monetary contribution, a total goal for your budget, what the money will go toward should you reach those goals, and how you will repay those who have donated to your campaign (usually a signed copy of the book and an acknowledgement in your book, among other things). Then you set a timeline to reach this goal, give your

17 17 prospective fan-base a taste or more of your work and see where it all takes you. CrowdScribed is a type of self-publisher that offers writers the benefits of a writing and reading community interested in helping new and emerging authors get the right start. You have two basic options to choose from: go through their program, hit your goals and be guaranteed a publishing contract (either by their imprint or a small publishing house), or go through their program, hit your goals, take your money and run (publish elsewhere). Literary Journals & Magazines If you re interested in starting out small with your official publishing credentials, consider submitting short stories and poetry to various literary journals and magazines. This is not necessarily an easy market to break into, but if you re passionate about writing shorter stories (fiction or nonfiction, poetic or not) and would like to build up your portfolio and/or author platform then this is a great place to start. Some journals and magazines take submissions all year round, some publish weekly, some only once or bi-

18 18 yearly this along with how well-known and respected they are determine how difficult it may be to have submissions accepted. The point is if you re hungry for the recognition and you re determined to share your writing with other literati this is a great way to break in. Once you ve dipped your feet in the milder waters of publication and you find yourself wanting more, the next step is taking your blogged book, crowd sourced funding, and budding author platform into the oceans and seas of book publishing. So, dig out your buried treasures of halfstarted and full manuscripts or write something new it s time to celebrate your writing on a whole new level.

19 19 READY FOR PUBLICATION? Is your manuscript ready for publication? Keep in mind that finishing the first draft of you book is not the last step before sending out query letters (yes, multiple) or hitting the publish book button on a self-publishing website. Even though you ve typed THE END on the last page of your manuscript, at this point you re probably only half done. First and foremost, you need to have your book edited. I don t mean spell-checked or grammar-checked by the computer or your best friend you need a content edit done. Who will do this edit? You will the first one anyway. Before you even let another soul read your manuscript, you need to put it away for a week (minimum, I suggest one month) and then read it with fresh eyes. This is where you

20 20 will find any holes in your plot or sub-plots, and jumps in your time-line, over-statements, under statements and a whole host of things we don t see when we re writing the first draft. Then, find someone to do a content edit for you. This person should not be immediately related to you, in love with you (or hate you for that matter), or owe you anything. This person doesn t have to be a professional editor but should be someone (or multiple someones) who have a good grasp of the language you re writing in and be an avid reader who understands the elements of storytelling. This person will find what you don t. A few good resources to consider, besides going directly to an editor or writing coach, are: writing/critique groups, workshops, and local writing classes or courses that focus on work you ve already produced. In these structured environments you will be able to look critically at the manuscript you ve written and consider it from various angles and perspectives you might not have considered while you were flying solo on your first draft.

21 21 Then, you write another draft considering all of the suggestions you ve been given. Notice my use of the word considering? It means you need to analyze why those comments were made and decide if you need to make a dramatic alteration or just fix what you have so that the message doesn t get lost in translation. But you re not ready yet. After this revised draft you need either a line edit and/or proofreading done. Yes. This is necessary. If your book is a labor of love or your money making machine, it has to be as close to perfect as possible before you can consider yourself ready for publication. Again, you don t necessarily have to pay for these edits or you don t need to pay an arm and a leg to get them done properly. You have options: Beg Barter or trade skills Hire a new graduate

22 22 Look for new-client deals The full-monty Beg While this is not always the most gracious route to take, it is the cheapest. If you frequent local writers groups or have a favorite teacher or professor you re still in touch with, ask them if they would consider editing your book. You might have to sweeten the deal with an acknowledgment to them and/or buy them dinner but that s incredibly reasonable payment considering the mammoth undertaking you ve requested. Barter or Trade Skills Quite likely you re an avid reader and have shared more than one remark with someone about a book you ve read. If you re not confident about your own editing ability offer to do something for someone who has the skills. Other authors need quality book reviews done to help spread the word about their own work. Or maybe you re a graphic designer and can put together a drop-dead gorgeous book cover. Maybe your amazing skill is cooking make

23 23 someone an offer they can t refuse and teach them how to make your signature dish. You have a reservoir of options to pick and choose from, it s just a matter of finding the right counter-part with which to make that deal. Hire a New Graduate There are any number of skilled people online just waiting to be given the opportunity to cut-their-teeth on a project if someone would just give them the chance. You can find these resources using online agencies like ELance, Guru, and Freelancer (make sure you read the fine print for operating on these sites before making any commitments). Here, newbies will bid for the opportunity to work for you. You can see their credentials, a sample of their work, and read any comments written by previous employers who ve used their services through those sites. Another great resource is posting on the job-board at your local college or university. These editors might not be seasoned professionals but they ve been trained to look for the very thing your eyes are missing. Look for New-Client Deals

24 24 There are a host of other authors and freelance writers/editors out there who are trying to make a living. Quite often if you check out their website you will find a tab labeled Services. More often than not, they will offer some form of editing and discounts for first-time clients. Make sure you look at their testimonial/references page and review the kind of editing and books they specialize in. Be wary of individuals who say they can edit all types of manuscripts covering the spectrum of editing services. Occasionally someone who used to teach the language you re writing in, or was an agent/publisher in another life, might qualify for such variety of skill. However, the average editor does specialize. The Full-Monty Here, money is no object because only the best and the right person will touch your manuscript. You have saved and anticipated this moment, fully intending to do everything by the book for your book. I say, if you can then do it. But make sure you re not just throwing your money away. Ask for advice from writer friends and colleagues, participate in online forums, see who edits your

25 25 favorite authors and check them out. Just be sure to walk into an editing relationship with your eyes wide open. Your task will be to find the exact right person for the job. Don t be afraid to ask for a sample of an editor s work. This allows you to be choosy. Once your manuscript has gone through beta/test readers, critique groups, workshops, content, line edits, and has been proofread you re ready. Before your book has a chance to sit on the desk of some big-shot in the publishing game, your work has to be the absolute best version of itself even if that big-shot publisher is you.

26 26 LITERARY AGENTS & LAWYERS One of the most common questions new and emerging writers ask is, Do I need an agent to get my book published? The short answer is No. The long answer is It depends. If you want to self-publish and traditional publishing holds no sway over you, then no, you don t need a literary agent to make your dream come true. If you re interested in querying traditional publishers that s where the line between black and white, yes and no, begins to blur. The big publishing houses like Penguin Books, Random House, Scholastic Books, McGraw-Hill, Harper Collins, Simon & Schuster, and Pearson (to name some of the biggest world-wide) will not accept unsolicited

27 27 manuscripts. An unsolicited manuscript is one not represented by a literary agent or agency. What do Literary Agents do for authors? Consider your manuscript as a commercial publisher would. This means editing it (yes, again) from the perspective of what elements will help sell your book. Research which publishing houses (large and small) are currently looking for your genre and your general storyline. Use their contacts in the industry to get your manuscript read by higher-ranking editors at these publishing houses (and not remain trapped in the slush pile to be read by interns). Negotiate your book deal to get you the best possible contract for a first-time author. They know which items are negotiable, which might be challenged, and

28 28 which ones will hold firm. Good agents will mediate issue between you and the publisher. If you need an extension on a deadline, or have to request a change in book tour dates they will deal with these issues and more. They re a support system. To have a professional believe in you as a writer and an author without question is an invaluable relationship to have after struggling to reach this important transitional point. The reason traditional publishers request no unsolicited material is that they expect only the best of the best to be put on their desks for consideration. Both the author and the book need to be vetted and having an agent is the sealof-approval in this part of the business. Then there are the small publishers and many imprints available through the big publishing companies who maintain slush piles and will accept unsolicited manuscripts (see Traditional Publishers: Small Publishers

29 29 for more information). These presses keep the back door open for authors and often have a dedicated staff to read these manuscripts. Generally it takes 3-6 months before you ll hear back from these houses. Note that only 1%-5% of unsolicited books submitted are accepted for publishing each year. So, what if one of the smaller presses loves your book and wants to take you on as a client? Since your manuscript was unsolicited that means you don t have an agent representing you. This is critical. You have a decision to make: Trust your instincts Find an agent Rely on a lawyer Trust Your Instincts Your gut instinct may very well be to go it alone. You re a smart, wise, confident individual who can smell a bad

30 30 deal a mile away. That may be the case on average, but this is a contract full of legalese that you will be expected to abide by and fully understand before signing. If you re not a lawyer, or have previously worked for a literary agency or publishing house, be very wary about doing this on your own. Even if you just get an author friend who s done a few contracts to look it over for you, you ll be miles ahead of the game. Additionally, you should research the quality and integrity of the publisher making you the offer. Don t allow yourself to be blinded by the romance of having a publisher reach out to you. Utilize online resources like Preditors & Editors, Writers Beware, and the book publishers section of Absolute Writes. Use your search engine of choice to complete a background check on your own, as well. You d be surprised what even commonly respected presses have been in the news for. Remember, when you sign the dotted line you re saying you understand and will abide by everything set forth in that document so you better make sure you give your gut, and your manuscript, a fighting chance. Find an Agent

31 31 Sounds simple enough, right? Maybe not if you ve been trying to get an agent for the past 4 months and got nothing but rejection letters. Don t worry. The tides have changed; you re wanted by a publisher. Return to your list of potential agents (ones you haven t contacted yet) and lead with this fact in your new query letter. If the publishing house is truly interested in your book they won t mind waiting a couple of weeks while you look for someone to represent you. If a literary agent agrees to take you on, make sure you talk shop with them about their fees based on your royalty rates and other important options. Don t just blindly walk into this relationship and expect to get the best deal possible do your homework and communicate with your representative. Rely on a Lawyer The last thing to consider is hiring a literary or copyright lawyer to review the book contract. Like an agent, they will go over the contract sent to you by the publishing house and bring to your attention items of note. These could range anywhere from issues regarding royalty payments: how much and how often, to your rights to the work and

32 32 its various off-shoots (like audio books and TV/film options). Unlike an agent you will be expected to pay for their services in full and most will not negotiate with the publisher on your behalf. If they do offer negotiations in their fees, seriously look at the money you ll be paying out. If this kind of cash is not available to you, focus on one of the first two options. Signing your book contract should not cost you your total expected revenue for the year, nor should it be taken lightly. Make sure you walk into negotiations well-armed and be prepared to hear, We offer the same contract to all our first time authors. Take it or leave it. If that choice comes your way, make sure you weigh your options carefully. If you wait too long to sign this one, in the hopes that another publisher will make a better offer, you might end up with no contract at all.

33 33 TRADITIONAL PUBLISHERS A traditional publishing house or press pays you for your writing. In rare cases an editor for a TPH, traditional publishing house, might see work you ve published previously: articles, e-books, blogged books, self-published works, and approach you to either write a book for them in a similar vein, ask you to compose something new, or look at taking on your Indie project in full. Generally this happens to already established authors and well-known freelance writers. The route more commonly traveled is: submit a query letter and manuscript package according to the TPHs guidelines, wait to see if one of their staff editors likes your work, thinks it s saleable, and offers you a contract. Most TPHs contracts cover who will own the rights to your work and in what format, what kind of royalties or

34 34 payment to expect, how often and when (many presses will send out a check anywhere from a monthly basis to a biyearly basis depending on volume of sales) you ll be paid, and look at various ways you would be in breach of contract if you are overly contrary during the publishing process. They may or may not cover options for publicizing your book but there is usually a clause present that prevents you from inadvertently doing your own marketing DIY style and having your book sub-standard to their expectations. TPHs know the business and what sells. Their editors are highly trained and are there to help you develop the most saleable version of your book. You will have very little, if any, control regarding the end product, besides being the one to alter your text based on the various different edits you go through. You are placing your manuscript in the hands of professionals and believing in them to produce the best possible product based on an extensive track record in the industry.

35 35 LARGE PUBLISHERS A large publisher tends to make its money from back-listed well-known authors on the pay-roll. Now, that s not to say that new authors don t weigh in, but on the whole until you ve made a name for yourself you will be considered a small-fry and a risk. That is why it s imperative to have your agent submit a quality, edited copy of your manuscript. Silly typo errors and simple grammar and sentence structure oops give the wrong message to these professionals. Because of your new-author status, you will have a specific window of time in order to bring in the expected minimum revenue for the sale of your book or your risk being dropped as an author. Be aware that because you are dealing with experts in their field, you will not get a say on much of anything they know the business and have been doing it for years. They are generally not interested in external ideas or proposals. They will decide how to market your book, what the cover should look like, how the layout

36 36 of the interior formatting will sit, and which reviewers get an advance copy of your book. The budget for new authors is small and doesn t go far. If you want to be able to pick up the slack where they leave off, you ll need to be prepared to hire professionals on your own DIY doesn t get past the front door here and if you try to sneak it in the back window you risk a reprimand and the loss of your contract. So if your big publishing house has decided not to make a book trailer for you but you really want to have one, be prepared to work within their expected standards and potentially dig a little deeper into your pocketbook. One of the best things you can do is build up your local appeal. If your publisher has arranged a book tour (either physical and/or virtual) you can add to this. If they re not already making use of Goodreads and other giveaway opportunities, these are areas where you can step up. Just know that any additional publicity or marketing you do on your own will not be covered by your contract, so keep a contingency fund just in case.

37 37 It is in this arena where you are likely to have the smallest royalty percentage on the sales of your books. In North America the average contract will offer an author between 5%-15% on print books sold and 15%-25% on e-books sold. Audio versions and TV/film options will differ depending on how your publisher goes about obtaining these rites. Generally speaking though, TV/film rights tend to be 50/50. Even though these percentages vary, it is unlikely that you will be offered more than the minimum. As much as these publishers are in the business of bringing new books to the market, they are also in the business of making money. With that in mind, don t forget that part of your royalty, your earnings, will be divvied up to pay your agent fees. It is often a struggle for any first or second time author to realize a healthy wage. This is by no means set in stone as we ve all heard of poorly written books making a splash in sales and exceptional books being overlooked. On average though, the LPH will advise you not to get your hopes up until you are a more established author.

38 38 The large publishers are the industry Leprechauns. They can be tricky to deal with and like to keep their gold. Your agent will help you strike the best deal possible but know that many an author has experienced a change the title of their book, had the blurb on the back modified or rewritten to reflect a particular marketing aspect, and might try your patience along the way unless you know ahead of time what to expect. So why do all the writing experts say, Go traditional if you can? Because if your writing is worth its salt, with each successive book or series they publish with you, your seniority has the potential to bring you greater negotiating power, better percentages, and higher long-term sales with a strong back-catalogue. For your first year or two you probably won t make much, but you also won t have to worry about all the incidentals of making a book viable in today s market. After all, you have an entire publishing house full of professionals who are working to make your dream happen. Yes, you will

39 39 have to compromise and maybe help along your initial publicity campaign, but you have a powerful spirit ready to help for simple promise of doing the best you can to make your dream a success. SMALL PUBLISHERS A small publisher does not mean small-time. Small publishers work on a similar basis to large publishers except that they put out fewer titles each year and tend to take more risks on new talent. Generally speaking these publishing houses earn less than $50 million per year and average 10 new titles in that time. There are more small publishing houses in North America (and the world) than there are large publishers. Why? Because they tend to focus on niche markets and specialize in certain genres. Don t get me wrong, some small publishers have a larger variety of genre-based authors than

40 40 the larger ones, but this is not the norm. Each publishing house focuses on a mantra or mission statement that will give potential authors a good vibe for what they represent. Small publishers come in two forms: The affiliated imprint The independent The Affiliated Imprint This tends to be the larger version of the small publishing house. Because they are affiliated with (or have been bought out by) one of the larger publishing houses, some industry professionals lump them in with that category. Ultimately, they belong to the same company in name and revenue stream but they operate independently. Penguin has ACE Books (science-fiction), Bloomsbury (serious non-fiction), Riverhead (literary fiction), and G.P Putnam s Sons (bestsellers) to name only a few. Macmillan Publishing has Tor Books (science-fiction), Forge (historical & thriller), Flatiron (intelligent non-fiction), and First Second (graphic novels) you get the point. With these presses your potential royalties remain closely linked

41 41 to those of their larger house ranging between 5%-15%, although some agents have negotiated the higher end and beyond for exceptionally promising manuscripts. The Independent Publisher These publishers tend to be professionals in the book industry who decided to branch out on their own and create their ideal company. Many of these people wanted to make an impact in a particular market and remain doing so to this day: Bardsong Press publishes historical fiction and historical fantasy with a Celtic flare. Others started with a particular niche audience in mind but have grown to encompass a wider range of writing and books: Great War Literature began with a focus on educational First World War literature, and still publish in this market. In recent years they ve branched out into fiction. GWL looks at publishing select historical non-fiction and quality general fiction. An independent publisher will often offer a greater percentage when it comes to author royalties, but not always. Where they are able to outshine the LPHs is in

42 42 their e-book sales where rates have the potential to be as high as 20%-30%. Print royalties tend to remain on par with the other presses because the cost of a physical book remains about the same no matter who you publish with. This benefit often goes hand-in-hand with a more open attitude about working with an author instead of an author working for them. Likely you won t have the final say on anything but your input and guidance will be carefully considered. That being said, the one downfall of a small publisher is that they are not necessarily as well-known (I m referring to the independent presses here). That means even though you get more face time you might have to work harder on the publicity side of things to get the same results as working with a renowned large publisher.

43 43 SUBSIDY PUBLISHING The term subsidy publishing has been around since the early 1940s. More often than not this type of publishing is referred to as Vanity Publishing or Assisted Publishing in today s marketplace. This is not a form of traditional publishing; it is a form of self-publishing. Early in its inception these types of publishers were glorified printing presses that the average citizen could use to develop a very personal kind of book (family tree, Aunt Mable s best recipes, book of poetry, etc.). This grew into a money-making enterprise where a collection of works or anthology would be put together and all those authors included in the anthology would pay to buy a book and be assured a place in the publication. Then, authors who had been rejected by upstanding traditional houses would look at paying to have their book or work published, often just to see it in print and order a

44 44 limited number of copies for family and friends. This is what we know more commonly as a Vanity Press today they offer to publish your manuscript for a fee. VANITY PUBLISHING The difference between traditional publishing and vanity publishing: Traditional Publishers (large and small) do not ask an author for money make their money by selling books pay authors a royalty & sometimes an advance work with the author to edit the book publicize on behalf of the author are selective with who they publish work directly with known book distributors

45 45 Vanity Publishers require you to pay to publish your book make their money by selling services to the author do not expect to sell many books do not publicize on behalf of the author do not generally require editing (sometimes will suggest you pay them to proofread your book) are not selective about who they publish do not distribute your book It is important to recognize these differences in order to empower your decision making regarding the right option for you and your work. The reason these publishing houses exist is to offer authors who are unable to get a traditional contract a chance to see their book in print. Because of this, professionals in the industry see the works published by these presses as being less than standard or not good enough for mainstream. In the past ten years or so a new form of subsidy

46 46 publishing has arisen to attempt to bridge the gap between vanity and traditional publishing called assisted publishing. This is a form of supported self-publishing. While it is true that many self-publishing companies offer similar services to assisted publishers, their core fundamental is the we ll help you do-it-yourself approach. ASSISTED PUBLISHING This gap-bridger is specifically marketed toward authors who don t necessarily have the time (or patience) to pursue the traditional route (or have without success and are reluctant to go the DIY route). These writers believe in their book and want a quality product to share with the public minus the stigma of vanity publishing. Most successful authors (authors who re happy with their overall sales and the quality of their book) who ve used this kind of service break-even in the spending department: what they spent on the service and separate publicity they

47 47 made up for in overall profit from the sale of their book. That s not to say you couldn t earn more. It all depends on how your target market receives what you have to offer and how much time you can dedicate to making sure it gets into the right hands. Remember: this is a service that an existing publisher offers for a fee (these tend to range anywhere from $800 - $5000+ depending on how many services you want to pay for). Be forewarned: not all assisted publishing houses are equal. Some are vanity presses posing as assisted publishers and have lawsuits and litigations against them that would take you a week just to read the headlines about. They are predators. To find a reputable AP house you need to do your research. The website Preditors & Editors ( is a great resource to get you started. If they have marked an AP house has as not recommended find out why. VP Vanity / TP Traditional / SP Self-Pub

48 48 Bridging the Gap you pay to publish (VP) make money selling services (VP) make money selling your book (TP) pay authors a royalty (TP) do not publicly publicize on your behalf (VP) provide an author page and bookstore on their website for print-on-demand books (SP) are not selective (VP/SP) distribute your work (TP/SP) require a content critique to assess your book (AP) offer various types of editing for a fee (SP/AP) If this is truly the path you feel most comfortable taking because of the support you are offered during the selfpublishing process then there are a few navigational pieces of advice to keep in mind before you agree to anything:

49 49 1) Plan a budget be aware of how much the package you re interested in costs and how much extras like content and copy editing will be, how many books you want to purchase upfront to sell locally, and whether you want to be a part of any special sales program they offer. 2) Ask questions One area most authors don t realize is not included is publicity. A certain package might say that you will get advice on how to publicize your book but I have yet to see this advice equal the added cost (consider hiring a publicist like Jo-anne Vandermeulen or join the Authors Marketing Club if you need help in this area). 3) Know your rights Make sure you retain the copyright for your book; this is still a form of selfpublishing after all. Also, double check to see how much it would cost to break away from the AP house if you don t want to pay their bookstore listing fee every year (it s often an exorbitant

50 50 amount of money to branch out on your own). Ask about whether or not you keep the rights to the cover art, too. You paid for it so you should. 4) Stick up for yourself If the initial critique of your book goes poorly (they will almost always suggest that you go through one extra phase of editing and not because they want to make money but because you re work actually needs it) don t be afraid to ask for a different opinion, a new editor. I know a handful of cases where the editor was the wrong match for the genre and didn t get the essence of the book. 5) Keep an open mind Don t let the sales reps talk you into anything you don t want to do or pay for. However, hear them out. You re hiring them to help you through this process. If you re not sure of something, ask a writing colleague or go to reputable online forums like Absolute Write Water Cooler or your favorite LinkedIn group to find out more information.

51 51 6) Take advantage of deals Every reputable AP house offers deals on their services at various times of the year. When you ve decided which company you want to hire, contact them and ask to be kept in the loop since you re working on a tight budget. If you don t want the publicity option offered in the service package you most prefer, see if you can swap it out for more books or another service you feel you need. Lastly, if you re certain this is the best option for your publishing needs, buy one of the books from your chosen AP house. This will give you an idea of: how thorough the editing is, what the interior layout or formatting looks like, and how professional the front and back cover look. After all, if you don t like the look of their product don t spend your money on it.

52 52 SELF-PUBLISHING: DIY The market for self-publishing has exploded. The online magazine Publishers Weekly notes that self-publishing is looking at triple-digit growth since It s also important to note that since the evolution of the personal e-reader and portable tablet, half of all book titles sold are in e-format. E-books have become so lucrative that some new small publishers and imprints are devoted only to selling e-titles. The statistics sound great and the potential revenue is aweinspiring (35%-80% depending), but what does all this mean for you the author? A lot of self-discipline and hard work if you re going to make a sizable profit with your book. If you re just publishing for the love of writing or for fun, then all you need to do is get a friend to proofread your book, upload it to your choice of free self-publishing (smashwords, createspace, bookbaby, lulu, kobo,

53 53 fastpencil, etc.), add a pre-fabricated title page or one you ve made yourself and you re a published author. However, if you want your book to be competitive in today s market you ll need to do some planning and preparation. I mentioned before about the absolute need for editing and ways to work around spending a lot of money to see your dream come true. There are in fact different options for DIY in the self-publishing industry with: Free Presses a) Bulk Printing b) POD (Print on Demand) c) E-Only Publications Owning Your Own Imprint Any one of these avenues can be of significant benefit as long as you understand how each of them works.

54 54 FREE PRESSES Online self-publishing companies such as CreateSpace, Lulu, Smashwords, BookBaby, FastPencil, Kobo, and many others work on fee-based free book publishing. What free means is that you, the author, don t have to spend any money with them to have your book published. How they earn money for helping you is by taking a percentage of the profits of the sale of your book, like a traditional publisher. The amount is usually low (the average is 20%) but it will go up if you opt-in for their partnership services (agreeing to wider distribution through other retailers can potentially add up to 60% on book sales). If your book is sold by a third party, then you will need to pay that third party as well as your self-publishing house for helping you make that sale. Here s a breakdown of how this might work: Smashwords charges 15% for being your main distributer

55 55 then they take another 15.5% if you qualify for their premium distribution plan to affiliate online stores if an online retailer sells your book another 9.5% is deducted from your profits this brings your earnings per book to approximately 40% (remember, a traditional publisher tends to offer 15%-25% on e-book sales) With all the above being the case, you re still drawing in a sizable profit compared to being published traditionally. Numbers for printed books vary but the averages still work out in the DIYer s favor. Many of these companies are trying to set themselves apart from the competition by offering you free services. Some of these services include but are not limited to: Stock Image Use ISBNs Multiple Downloadable Formats Design Your Own Cover

56 56 Formatted Templates Interior Formatting Guides Publicity & Marketing Guides Interactive Help Forums Author Pages Virtual Author Events Blogs/Website Integration Reader Reviews Extended distribution networks (partnering with other e- book providers like Barnes & Noble, Ingram, Apple, etc. and smaller foreign markets) allows for more face-time and opportunities to make sales in your market. Half of all book sales are e-books. Half of all e-book sales are made by Amazon s Kindle. Many independent authors feel that the Kindle market is big enough, and meets enough of their target needs, to be a viable option. Amazon and Kindle have their own free self-publishing press called CreateSpace. If an author chooses to publish with CreateSpace it works very differently from most of the other options available they don t do extended or

57 57 premium distribution to other retailers. By limiting their retail space to Amazon and Kindle they are able to offer their authors a higher percentage of money earned. However, it s important to reflect these two different formats because the other half of the e-market does not deal with Amazon or their specific.mobi files for Kindle. There s Nook, Kobo, ibook, and various tablet manufacturers who tend to use either.epub or.pdf files for their e-books and it s important that you recognize where your readers are by doing some research ahead of time. Also note that you can e-publish on multiple platforms, you just need a separate ISBN for each edition of your book. No matter what you decide, make sure you read all of the terms and conditions as well as the privacy laws associated with the free press or self-publishing house you choose. Know in advance that your copyright information will site that specific self-publishing house (i.e. CreateSpace, BookBaby, Kobo, etc.) as your publisher of record industry professionals will know you re an independent author and have not been traditionally published.

58 58 Recognize, too that some of these houses only offer e- books and if it s important to you to have print copies of your book available, then make sure you know who offers what. For those that do offer print versions of your book, the two services available to consider are bulk printing and print-on-demand. Bulk Printing & the Self-Publisher Bulk printing is pretty much the same no matter where you go. Whether you choose to deal with an independent printing press or self-publishing company, the bottom line is that the more books you buy at one time, the bigger the price discount you will receive. Why? It s less expensive to set up a print run for 1000 books than it is for 100. Wholesale distributors of ink and paper offer discounts that can then be passed on to the author, but this means more money up front and potentially a basement full of books as you work to publicize yourself and turn that stock into cash-flow.

59 59 POD The Rise of Print-on-Demand What if you didn t have to buy all of your books at once and ship them across country or around the world on your dime? Print-on-demand publishing frees up that room in your basement to put in a surround sound theatre room or that universal-exercise machine you ve been dying to buy. But like every good idea, it comes at a cost. If your selfpublishing house offers this option your cut of the moneypie gets a little bit smaller. For some people, reduced profit means more flexibility. When you don t have to budget for 500 copies of your book, you can use that money elsewhere. Essentially what you are asking your paying public to do is a) buy the book and b) pay for the shipping and handling. What you need to consider is whether or not this will affect your sales in any significant way. OWNING YOUR OWN IMPRINT If the idea of being your own boss, owning your own

60 60 publishing company and self-publishing your books your way sounds like a dream come true, then owning your imprint might just be the best option for you. Without a doubt you re in total control of, well, everything: from writing, to hiring the right editor, and cover designers, running a media campaign, setting up an online store, finding a good printing press, meeting potential vendors and more. This is both a challenging but a rewarding choice that comes with no small amount of hard work and dedication. However, unfortunate reality in today s book market is that self-publishing is often looked down upon by industry professionals due to the potential quality issues of these books: varying from just throwing it out there to highly refined and crafted. Because of this instability in the market, if you self-publish through a free or assisted publishing house then their imprint (Lulu, Book Baby, Friesen Press, iuniverse, etc.) will appear on the cover and as part of the copyright in the legal portion of your interior formatting. This signals to professional reviewers, literary journals, magazines, and newspapers that you are a newbie,

61 61 untried, and are potentially selling a raw manuscript. You will be hard-pressed to find avenues for national publicity. And yet, by truly publishing your book yourself, with your own imprint, you are immediately granted micro publishing status. While at first this option won t elevate you much beyond what the free-presses offer, in the long run you have the potential to turn yourself into a small press and that distinction will earn you respect for your writing, as long as you re maintaining industry standards. So, what is a micro publisher? He is an author and/or editor (often the same person) who wants complete control over how his publications are developed. These publishers only put out one or two books a year with a limited number of copies printed (approximately 50). In order to reach small press status an MP, micro publisher, need only put out a minimum of 300 chapbooks (for one title) or 500 bound print books each for 2 titles. Budgets for MPs are often minimal and distribution is limited. It is rare that these books generate

62 62 enough of an income to sustain the writer and are often a labor of love. That being said, if you are determined to sell at least 500 copies of a print book for two different titles (1000 books in total), you can elevate your status and begin making waves as a small publisher. With that subtle change, your publicity and marketing options open up and the literary periodicals could start to take notice of you. But you can t expect this to happen overnight. You have to be willing to work hard, find distributors, locate a reasonable printing press, and handle all of the details of running a business yourself. This is not an avenue for the faint of heart but it can be a truly rewarding one. Independent Printing Presses This is the long-standing format for the self-publisher, micro publisher, or small press owner. Many authors who have been publishing their own work since before it became popular still prefer this method for its hands-on approach. You can find printing presses locally or you can utilize online versions like Sure Print and Design, MP Morris Publishing, Instant Publisher, 48 Hour Books, Printing by Design and more. A printer does not generally

63 63 offer services beyond the actual printing of your book. You need to find: An editor An ISBN A cover designer An interior designer/formatting specialist A publicist Most will offer you: A variety of book sizes A variety of binding styles & cover finishes A few choices for paper (white, ivory, off-white & thickness) Printing of posters, bookmarks, banners and business cards One set of print proofs A deal on bulk book purchases (50, 100, 500, 1000 copies) You will be given formatting specifications to follow for bleed (where an image might extend past the standard

64 64 binding dimensions) and crop lines. It s important to note that certain options may cost extra including error corrections, delivery, and proof runs. Be prepared to write your own back cover blurb, obtain quotable reviews by local authors of the same genre or professionals in the same field for non-fiction books. Don t forget to keep your day planner up to date and your budget on track. Established Self-Publishing Houses as Printers Some of the existing self-publishing houses (both free and assisted service oriented ones) offer authors the opportunity to utilize their free options (like premade templates for book covers or interior formatting, buildyour-own covers, distribution associates, statistical tracking, etc.) but place your own company imprint and logo on the final product for a price. Effectively, you would be paying that self-publishing house for playing with their toys. More often than not these houses will ask for a one-time

65 65 fee in addition to a printing cost per book (either POD or bulk buys) that acts like a division on your royalties. They have these nifty little programs that allow you to punch in your total number of pages, the size of print book you want, the color and weight of the paper, black & white or color interior &/or cover options everything. Then press enter and you have the cost per book. Then you choose how much of a wholesale discount you re willing to offer distribution houses (the industry norm is 55% but you can realistically go as low as 35% it just narrows your marketability) and how much money you d like to make as profit (say $2/book) and presto you have the price of your book. However, that little fee per book that s the house s cut will often push the consumer s purchase price up anywhere from $1-$8 on average, ultimately placing your book on the outside of the buyer s market. Sure, you can reduce your personal profit to $1 or $0.50 and come close to balancing out the equation. You could leave your profit at $2 and aim to sell more copies via their online bookstore and your own website (buying copies in bulk and storing them in

66 66 your basement or garage in order to get a reduced author rate), but then you need to consider what you re gaining and what you re losing by going this route. You have the ease and convenience of using someone else s printing press as your own vs. a smaller profit margin but a better chance at being recognized as an independent press and actually getting your book in front of the right industry professionals. The Hybrid Option What is the key to making money? Find a need and fill a need. Lightning Source Publishing is an online printing press with the benefits of the most difficult aspects of selfpublishing built in. More and more authors going the independent route who are looking to be their own publisher, and not just be self-published, enjoy reduced rates and per book expenditures. You have the option of going POD or ordering bulk depending on your business model. You have the glorious benefit of having a built-in distribution network with Ingram Books and their affiliates, and you have access to a cover template with

67 67 interior formatting guidelines to follow. This is the best of both worlds when it comes to owning your own imprint and publishing house. You are charged a fee of approximately $117 (as of 2014) for a new title. That covers uploading the cover and interior to the printing press, one proof, and a $12 title fee for keeping your book available in their POD catalogue for one year. You are still charged a per book printing fee (this is the basic cost of paper, ink, and wear n tear on the press which would be approximately $4.15 for a 250 page black & white book) but it s at nearly half the cost of their competitors. They do not offer any services: editing, cover design, interior formatting, publicity (beyond access to a distribution house), etc. All of that remains firmly in your lap as entrepreneur, just as it would with a standard printing press (where your cost per book would be 2/3rds what Lightning Source offers a bigger discount but more work left to you and no options for POD).

68 So, now you have an important decision to make. 68

69 69 TAKING THE PLUNGE No matter what your literary pursuits happen to be, you should know what publishing options are available to you and how they may or may not fit with your personal goals. This book is only an introduction to let you know the basics what s out there and how you might begin navigating the waters. When you have continuity of purpose and practice, you can then pick what makes the most sense to you and focus your research in that area before taking the final plunge. My Advice: Never rely on just one source for information Never hedge your bets or leave things to chance Never think you have to do this alone Never underestimate yourself

70 70 This is your time to shine, so make the most of it and get published.

71 71 RESOURCES E-Books Authors Publish Submit, Publish, Repeat: Guide to Literary Journal Submission BookBaby s Blogging 101: For the Independent Author The Book Designer 10 Things About Self- Publishing Rob Bignell 7 Minutes a Day to a Self- Published Book Christopher Hopper Handbook to Publishing Your Novel Research-based Websites Preditors & Editors Writers Beware

72 72 Absolute Write Forums Community-based Websites Wattpad ABCTales Authonomy Figment Writers Net Quick Brown Fox The Write Life World Literary Café BookBaby Blog Writer s Digest Blog Kickstarter IndieGoGo CrowdScribed

73 73

74 74 M.J. MOORES Growing up in Ontario, Canada, M.J. was the only child of a single mom. M.J. s passion for the arts ignited at a young age as she wrote adventure stories and read them aloud to close family and friends. The dramatic arts became a focus in high school as an aid to understanding character motivation in her writing. Majoring in Theatre Production at University, with a minor in English, she went on to teach both elementary and high school