The new professional self-publishers co-operative?

There was some discussion again yesterday about self-publishing. There are a lot of issues that self-publishers face that are also concerns for the small press, such as the three imprints I work with.  

It’s relatively easy to produce a book, especially if you have the experience to edit it well, if you actually know how to write and if you know a little about how the industry works. Marketing it and distributing it are hard work and for many writers these are thankless tasks. You probably need to spend about 75% of your available time on these activities. The small press and self-publisher alike lack the resources that the big publishing houses have at their fingertips. Poor self-published books have put even the independent booksellers off. So, even though you still are expected to get into promoting your book if you’re published mainstream, you have a bit of a head start because of the contacts the publisher has built up over the years.

Eyes light up and cash registers ring in heads when one thinks about a print on demand 130 page book that can sell at least £5.00 costing just £2.00 to produce and an e-book published on Kindle or with Smashwords with no upfront costs. However, there are still set up costs for the print book – about £50.00 -,  ISBNs for all books,  copy to British Library for the print book, cover design for all books (minimum £250 – artists have to live too and even stock pictures can cost a fair amount if you do sell well) editing and copy editing. Yes, the latter two are important. The author is the last person who should do this for their own work. Editors and copy-editors have to live too. If you do everything properly, perhaps throwing in a few review copies – and many self-publishers are beginning to do everything that professionally – you’re rapidly approaching £1000 set-up costs. And you risk, unless your marketing is brilliant, not selling a single copy.

You can keep control of the finances – you can vow not to publish a second book until you have recouped the costs for the first. So, small press and self-publishers can avoid the commercial pressures that the big guys face. They don’t  have people on salaries and grand offices in London to support. A professional small press may or may not have offices – many don’t – and their only overhead might be membership of the Independent Publishers Guild. Many self-publishers find it commercially advisable to create themselves as sole-trader publishing houses and therefore face exactly the same issues.       

So might it be canny to team up with a business expert and agree to share the profit? That seems a good idea. There is, however, a snag. Business experts can make tons more money for the same amount of effort promoting other businesses. You really need either a business guru who has a love of books or a writer who has also got a good business head. Both creatures are rather rare.

At Bridge House and The Red Telephone we’ve worked on a profit share basis. Editors, copy-editors designers and publicists have worked really hard for 10p an hour (ish) - we’ve had one or two books that have not gone into profit. Chapeltown is operating in a slightly different way – a mixture of buying in services and profit share amongst the family members that run it. GoldenfordPublishing, a small press based in Guilford, is a type of cooperative, though not quite. Read up about them – they are really interesting!  But at least all of these small presses have absolute freedom in their creative choices. No need to have “fart” in the title of a children’s book – that was part of the debate yesterday.

We do pay royalties but they’re peanuts. That doesn’t preclude getting a best-seller one day. And of course loads of peanuts make a feast, which could also be the business model for the self-publisher. If you can make the promotional side of it palatable, you would at least be spending your time doing what you love until the feast appears.

Is there a way around some of those extra expenses? I’m thinking here of the old baby-sitting circles. Could those of us who wish to self-publish, edit, copy-edit, design and promote for each other? Could we even get artists involved?

If anyone is interested in this idea, email me at editor@chapeltownbooks.co.uk. I’m going to be away 24 August to 15 September, so I’ll collate any responses after that.    

A book promotion policy

Authors have to get behind their books these days. So, I’m taking some of my own advice and getting behind Hipp-O-Dee-Doo-Dah.

I’m offering:

-          Free school visits – up to 90 minutes. Brief talk about Children’s Hospices UK – brief talk about writing. Readings. Q & A. Book sales and signing.

-          Talks to other groups along the same lines as mentioned above.  

-          Signed copies via my web site

-          Support to a more general fund-raising event for Children’s Hospices UK – I’d donate a further £1.00 per book for any sold at such an event.

And now a plea. If anyone has any connection with Daniel Radcliffe, who supports a sub-group of Children’s Hospices – please point him my way.  

Fascinating projects – where love is more important than money

You don’t get rich in publishing. Mind you. Some do okay. Or they wouldn’t have posh offices on the Strand or in other locations in London. Even so, compared with other big companies and multi-nationals, publishing houses are the poor cousins. Most of us are in the industry because we love books and writers.

I went to a seminar on design yesterday at the InternationalAnthony Burgess Foundation, run by Literature North West. Talks in the forms of Power Point presentations were given by David Pearson and Alistair Hall.

Pearson designs for Penguin, mainly covers. He knows his stuff, and as well as showing us many beautiful examples of his work, he talked with enthusiasm about how he worked.

Hall, equally talented and very diverse in the projects he undertakes, showed us some of his work but talked at length about a project that is run mainly by volunteers.

Pearson has also set up his own publishing company with a partner. They don’t make much money but they do publish exquisite art-rich books.

Both designers have to work on spec as well as on commission. They obviously do manage to make a living by their art but because they do so much and to such perfection, the hourly rate is not good.

But do they care? I suspect not. Goodness, I work all hours God sends on writing, publishing and promoting them both. I do have to ensure that I get paid properly so that my work is valued correctly. Often that is not easy. But it is a vocation, not a job, in the end. The days and weeks whizz by. I no longer feel the need for holiday or retail therapy, though relaxation and inspirations is important and attending this seminar was a form of both.  

Perhaps Hall’s project demonstrates very well what I’m what I’m saying. Check out http://www.ministryofstories.org/news/hoxton-street-monster-supplies-needs-your-product-ideas/                 

Story is king - but alone does not make a good book

I’m reading a self-published book. It was sent to me because the author wanted a mainstream publisher to take it on. Very flattering: our little indie has been labelled “mainstream”.

There is a lot wrong with the book, and I hope my publishing company would never publish anything as bad. Lots of run-on sentences. Punctuation all over the place. Chapter titles in the wrong places. Even hideous mistakes in the blurb. Overwriting. Wasted words. More legal information than a lay person can cope with.   

And yet: I keep on reading. The story is gripping. I’m a just a few pages from the end and there are still twists and turns. I’m resisting the urge to look at the last page. I’m sure this would make an excellent six-part drama.  

The book has sold 500 copies on the efforts of the author. It has a good endorsement from a person in the same trade as one of its main characters.

Sadly, though, it makes a fool of its author.

It should have been edited.

Self-publishers must get their work edited. Unfortunately, this is one of the major costs in publishing a book. The most successful self-publishers do this. I’m about to self-publish a book and I am paying an editor. I’m fairly certain they won’t have too much work to do, but they’ll spot any incongruities, things that aren’t clear and the odd typo or grammatical mistake.    

Sadly, the book I’ve been asked to read would take so much fixing that a publishing house hasn’t got enough editor hours to do that. A free-lance would earn quite a lot editing this book, but can the author afford to pay? The editor would have to rewrite the book, in effect. So, it would be rejected by a publisher. Shame! It’s a great story.   

                  

  

One of the Greatest Joys –Getting a Good Proof Copy

Yesterday I got the proof copy of Hipp-O-Dee-Doo Dah. (ISBN

978-1-907335-11-2)

I can hardly bear looking at proof copies when they come in case there is some awful mistake. That probably comes from the time when a publisher made a terrible omission with one of my stories.

So, I got our in-house designer to check. He was very pleased with it.

“And the blue has come out exactly right,” he said.

Apparently, blue is very difficult to get to print true. Just as well, as Anthony Browne has donated the cover art. And it may explain why it took us four attempts to load the cover up to the printer.

Now, whilst I’m name-dropping, Michael Morpurgo has written the foreword and there are stories in there by Alan Gibbons and Lauren St John, both Blue Peter award winners. Yours truly has edited it. There are many known Bridge House authors included in the collection and one or two new names, including well-established author Elizabeth Arnold, who also writes computer games.      

A donation of £1.00 is given to Children’s Hospices UK for every copy sold. It retails at £7.99.

Every book is a pleasure to see. There is nothing quite like holding something you have helped to create and seeing that it is a splendid thing. This one, however, is even more special.

Now, I’ll just go and accept the proof.     

Time to Get Excited - Hipp-O-Dee-Doo-Dah is on its way out into the world

This really is a great book by Bridge House. It is going to support Children’s Hospices UK. £1.00 from every book goes to this charity.   

Our cover has been donated by the present Children’s Laureate, Anthony Browne. Michael Morpurgo, also a former Children’s Laureate, has written a fantastic foreword for us. We have stories by Blue Peter prize-winners Alan Gibbons and Lauren St John.  Naturally, also, the book contains some great uplifting stories by some new and emerging writers.     

Details of how to order will be available soon.

Bridge House’s World Stopping Events

We hesitated a lot about going ahead with this book. In the end, though, the competition brought in enough to cover the costs of setting up the book, and there was a little left over. Anyway, we’re considering having a print-based cover for this title, so we can do it in-house and don’t have to pay an artist.  

The ideal would be to publish on Kindle. Our writers are asking us why we’re not doing that. Short stories on an e-reader or even an iPhone or iPad are absolutely obvious. Yet we daren’t risk it with the current situation about US tax. So frustrating!

As usual, the people selected were delighted. One did ask me whether only fifteen people entered the competition. No, we had over 80. We’d normally have many more for a competition that included publication: we have contact with over 500 authors and have published over 100.

The theme was a little tricky this time: stories had to be linked to one of those dramatic events everyone remembers. The event had to count but the story mustn’t be about the event. If you could take the event out and the story still worked, it wasn’t right. On the other hand, the story shouldn’t be impacted too much by the event, though it was fine, if, for example, flights were delayed because of 9/11. It’s not exactly the sort of story one has lurking in the bottom drawer.