Once upon a time, knowing what you needed to do to become a published author was easy. You had to write a book that would get past the gatekeepers. To do that, you needed to find an agent and then that agent needed to sell your book. You typed up your manuscript, made it as publication as ready as possible, shoved it into an envelop and then sent it on its way. Then you waited, praying each time the mail was delivered for good news. Those were the good old, bad old days. Read more
Posts tagged ‘traditional publishing’
From time to time, I’m asked whether I think a writer should publish their book as an indie or try to go the traditional route. Depending on who it is, I might temper my response a little. By that, I mean I will tell them the decision is theirs to make. Then I ask them why they consider going the traditional route. Almost every time, the answer is the same: they want to get into bookstores. You know me. So you know my follow-up question is to ask them where the closest bookstore is, when the last time was they were in the store and how many books a year do they buy from there. Almost always, you can see the lightbulb go off over their head as they consider the question. Read more
One of the most frequent comments you’ll hear when you ask someone why they want to sign a traditional publishing contract has to do with the “services” they get from a publisher. Next to distribution to bookstores, probably the most often quoted reason authors want a publisher is so they have an editor. They trust the publisher to make sure their book goes through not only content editing but also copy editing and proofreading. Because of that, they don’t worry as much about turning in a publication ready manuscript as they would if they were going the indie route.
It doesn’t matter if they are talking about a small press, mid-sized press or one of the Big 5. Too many authors believe the hype publishers try to sell – that they will get the kind of attention you see the Castles or other fictional authors receiving. Unfortunately, just as they won’t get the sort of promotion and push they see in fictional settings, they also aren’t guaranteed the level of editing they believe they’re going to get. Read more
This question came up recently in comments – why should we, on MGC, report on what The Big 5 (4?) are doing, or on B&N?
1. There’s scope and scale. What business are we in? We’re in the entertainment business. We’re competing with every other entertainer out there for Joe Sixpack’s beer money – and for Jane Doe’s attention span when she wants something to take her mind off the fact that she’s in a waiting room. Read more
I want to thank everyone who took the time to tell us what topics you’d like to see us cover over the next six months or so. It really does help us to have that sort of input. While we don’t guarantee that we’ll get to ever topic, or in the exact way it was suggested, we will do our best to cover as many of them as possible. I’m still pulling the list together and I’ll be sending it out to the other bloggers later today. In the meantime, Dave kicked us off with his post about prologues yesterday.
One topic several of you requested was formatting. There were variations on the topic and a request for exercises. I’ll figure out the best way to do exercises over the next few days. I might go back to a workshop I did on formatting several years ago and update it for the purpose. But, while I figure out the best way to do that, here are links to some recent posts I’ve done on formatting for both print and digital editions.
These posts are targeted for those who are planning on going indie with their work. For those of you who are wanting to go traditional, formatting is a bit easier. The first thing you need to do is check the agent’s website or the publisher’s website you are submitting your work to. If they have special formatting requirements, they’ll be listed.
For example, Baen lists the following as its requirements:
- Attach the manuscript as a Rich Text Format (.rtf) file.
- Send the manuscript as a single file (do not break it into separate chapter files).
- Synopsis and contact info needs to be in the file with your manuscript.
- Minimal formatting, please. Do not format text boxes or sidebars into the manuscript; use block quotes. Indent paragraphs; center chapter headers and scene break indicators (###, ***, etc.); use page breaks only at the end of chapters. For emphasis, choose either underline or italics and use it consistently throughout.
- Do not use “smart quotes”/curly quotes or single character elipses, mdashes, etc. Use straight quotes and apostrophes, . . ., –, etc.
- Avoid non-standard fonts, and unnecessary changes in font face, size, etc. Publisher likes CG Omega and Lucida Bright.
For hard copy submission, here are some of the requirements for Baen:
- Standard manuscript format only: double-spaced, one side of the page only, 1 1/2″ margins on all four sides of the page. We will consider photocopies if they are dark and clear.
- Font must be readable, or we won’t read it. This means seriphed or at least semi-seriphed, 12-point or greater. Publisher likes CG Omega and Lucida Bright. Typesetter likes any standard bookface, Times Roman or Courier.
You can find the submission guidelines for Tor/Forge here. Actual formatting requirements are as follows:
- Standard manuscript format means margins of at least 1 inch all the way around;
- indented paragraphs;
- double-spaced text;
- Times New Roman in 12 pitch.
- Please use one side of the page only. Do not justify the text.
- Do not bind the manuscript in any way.
- Make sure the header of the ms. includes your name and/or the title of the book as well as the page number (on every page).
So you can see the two publishers have similar, if not identical, requirements. But that’s not always the same, which is why I say to check the sites for wherever you are submitting if you are going the traditional route and trying to find an agent or publisher. That is especially true if you are submitting to a small or mid-sized press because some of them want the author to submit their work in a format that will be easily converted into digital formats (in other words, they want the author to do that part of the work for them).
So, I guess here is where I give you the first “assignment”. Look at your current work-in-progress (or the work you just finished and are trying to figure out what to do with). Decide whether you want to go indie or trad with it. If going trad, decide if you are going to try for publishers where you need an agent or if you are going to a publisher that has open submissions. If the former, start looking at agent requirements. (For example, some agents have you send the first few pages as part of the body of your email while others don’t want to see anything but your query.) If the latter, find their submission guidelines and figure out, based on those, what you have to do to get your submission packet ready.
We’ll get more into the nitty gritty of it next week. Until then, if you have any questions or if you want input on your formatting decisions, post them in the comments below.
Edited to Add: Let me know in the comments which OS you use to write in and what programs you use for writing and for conversion (if any on the latter). That will help me as I put together the next couple of posts.
That is approximately how long it’s been since Amazon first allowed the infidels to dip their toes into the sacred waters of publishing. From the beginning, traditional publishing has taken a two-pronged attack against not only indies but readers. They have told us that e-books were a passing fad, something that wouldn’t last. They also warned that allowing just anyone to publish without having to prove themselves by finding a way past the gatekeepers would allow nothing but dreck into the holy waters of publishing.
Well, almost 10 years into this so-called experiment in mediocrity, e-books are still here and more and more indie authors are earning more than pocket change for their work — and the blinders are still, at least as far as most of those in traditional publishing are concerned, firmly in place.
We’ve seen the Big 5 (which used to be the Big 6) and Apple run afoul of the Justice Department for price fixing in an attempt to undermine Amazon. All that accomplished was costing everyone involved in the conspiracy money in the form of fines and payouts to customers who got caught up in their antics. Oh, and let’s not forget about how it started readers asking why traditionally published e-books cost so much.
We’ve seen a few traditionally published authors condemning their counterparts, not only those who have never been traditionally published but also those who have chosen to go the hybrid route of both indie and trad publishing. Friendships have been strained and, in some cases, lost and over what? The fact someone didn’t take the same route as another? (yes, I’m rolling my eyes.)
In this time, we’ve seen not a gradual acceptance of e-books by traditional publishing and its proponents but a continued attack on them. All you have to do is look at the prices charged for the digital release of new titles to see what I mean. Here’s a perfect example. Echoes in Death by J. D. Robb is available for pre-order right now. The price? $14.99.
Yes, you read that right. By the time you add tax, you will pay more than $15 for an e-book.
Nor is this an anomaly. Silence Fallen by Patricia Briggs sells for $13.99. Fast & Loose by Stuart Woods sells for $14.99. There’s more, much more. All you have to do is look. When you do, you’ll discover a couple of more things. Amazon, not being a fool when it comes to marketing, makes it clear that these high prices aren’t set by anyone except the publisher. Also, if you, as a reader, check the terms of service when you buy your e-books, you’ll discover a couple of things. First, I bet you dollars to doughnuts that almost every e-book you’ve purchased from a trad publisher is filled with DRM (there are a few exceptions, like Baen). Second, you will discover that you haven’t actually bought the book. You purchased a license to read the book. Now, in some ways, that’s nothing new. It’s what you do when you “buy” software from most software publishers. Still, it rankles but the DRM rankles more because that smacks of the publishers telling us they don’t trust their readers not to do something evil like — gasp — loan the book to a friend, exactly what we do with our hard copy books.
Now, I don’t know about you, but I have a line in the proverbial sand when it comes to how much I will pay for an e-book. It’s a line that I will very rarely cross. I’ll admit I will rarely even get close to the line. That price, for me, is $9.99. It used to be lower but I had to change that when Baen finally got into Amazon. I groused, like a lot of others, because that move meant Baen now charged more. However, there are several Baen authors I will pay that much for instead of waiting for the price to come down. But paying $15 for an e-book when the publisher won’t even admit I own the book? Nope, not gonna happen. I will wait for the price to come down or, if it doesn’t, I will borrow it from the library.
The problem is that doesn’t really hurt the publisher but it does hurt the author. I hate that part but there isn’t much more I can do to voice my displeasure — not that the Big 5 listen.
A perfect example of how they don’t listen and don’t pay attention to market trends is this article from Publishers Weekly. Sure, the article is about how e-tailers are continuing to survive but the premise is what had me shaking my head. According to this post, e-book sales are down. Yes, it did say e-books by traditional publishers but then it basically acted as if those are the only e-books out there. That is the same sort of premise the Big 5 works under. They seem to think that the fact their sales are down for e-books, they are for everyone. No, what they need to do is look at their pricing, something indies and readers have been telling them for years.
Unfortunately, the idea that “the more I charge, the more I make” isn’t limited to trad publishers. Indies suffer from it as well. Pricing is a bitch to figure out and to make sure you are hitting the sweet spot. Part of the equation is also figuring out that the higher the price the fewer buyers you will have. So, while you may be getting more money per sale, you are actually losing money in the long run because you are losing readers. But that’s a post for another day.
But, to me, even more of a slap in the face when it comes to the Big 5 and their ilk is the insistence on trying to lock their e-books with DRM. That is especially egregious when you look at how much they charge. Sorry, but if you want me to pay more than $10 — heck, who am I kidding? If you want me to pay more than, well, anything — for an e-book, I’d better own it just as much as if I bought the hard copy version.
And then they wonder why people figure out ways to break DRM or why they go to pirate sites to find the book they want. It’s a lesson publishing should have learned from the music industry and didn’t.
Finally, for one more piece of “Huh? How is that going to work?” we get this announcement. Bill Clinton and James Patterson are teaming up to write a book. The premise is that the President goes missing. Okay, that alone isn’t all that strange. Where I did a double-take was seeing that the book is being published by both Knopf Doubleday and Hachette. Oh, and it is supposedly going to be edited by the chairman of Knopf Doubleday and the CEO of Hachette. Am I the only one going “riiiiight?”
Let’s look at this for a moment. By doing it this way, the publishers split the costs of production and distribution (one would assume). They both get the benefits from the promotion of the book and I guarantee you this book will be promoted. Hell, the publishers won’t even have to pay for it because the media will be all over it. They also get to split the advances. Of course, that might not be such a big saving for them because I have a feeling both “authors” are getting close to their usual advances.
However, it also means they will split the monies coming in from the sales of the books.
It is going to be interesting to see how this impacts their bottom lines over the next few years. Not that I expect them to admit if the book fails to perform as expected. Remember those blinders I mentioned earlier?
10 years and publishing has changed and yet, in all too many ways, the same mindset continues to permeate the ivory halls of NYC publishers. Sigh.
Next Tuesday, Battle Wounds, the third short story set in the Honor and Duty series universe, will be published. So, a little promo for two of the titles in the series.
(Book 1 in the series)
First, they took away her command. Then they took away her freedom. But they couldn’t take away her duty and honor. Now they want her back.
Captain Ashlyn Shaw has survived two years in a brutal military prison. Now those who betrayed her are offering the chance for freedom. All she has to do is trust them not to betray her and her people again. If she can do that, and if she can survive the war that looms on the horizon, she can reclaim her life and get the vengeance she’s dreamed of for so long.
But only if she can forget the betrayal and do her duty.
(1st short story)
Duty, honor, sacrifice. That motto meant everything to newly commissioned Second Lieutenant Ashlyn Shaw. She thought she understood the meaning of those simple words. Little did she know.
Challenged by those who believed she made it through the Academy on her family’s coattails, a roommate who just wants to see “some action” and a gunnery sergeant determined to make a real Marine out of her, Ash soon realizes what it means to be a Marine. As the signs point to war on the horizon, she is determined to do everything she can to serve Fuercon and do the Corps proud.