Category Archives: Interacting With Professionals

A Small Press With Big Accomplishments

When I prepared to submit my debut novel Sleeper Protocol for publication, I decided that I would look into small presses as well as larger more traditional ones. As I prepared my list of potential “candidates” a good friend and co-author of mine mentioned a publisher I’d never heard of before: Red Adept Publishing. I added them to the list of potential publishers that I would research. As soon as I looked closer, I realized that Red Adept would move to the top of the list.

At that time, in 2014, I discovered that Red Adept Publishing had already published a New York Times Bestselling novel. That was a huge plus for them on my scoresheet. I also discovered they were located in North Carolina and being from Tennessee, this was another plus. Not too shabby. When I checked the normal sources (Preditors and Editors, Author Beware), I found nothing negative to speak of and so when the time came, I sent them Sleeper Protocol and kept my fingers crossed.

One October afternoon, I had some scheduled writing time before I was to pick up our youngest child from daycare. I walked out of Starbucks, got into the car, and my phone rang with a North Carolina area code. I picked it up and so began my first conversation with Red Adept Publishing. Lynn McNamee and her amazing team go much farther above and beyond than most small presses I know. Not only was I told that Sleeper Protocol would get a copy edit and a line edit, a spectacular cover, and marketing assistance, I found myself folded into a group of authors across many genres (fantasy, romance, thriller, paranormal, science fiction) who support each other and really are one big, happy family. I could not have been happier to have signed a contract with them.

It’s fair to say now, though, that Red Adept was not the first small press I submitted to, nor was my contract on Sleeper Protocol the first small press contract I received. The first publisher has since gone out of business and their contract, which they touted as “negotiable,” was a learning experience in and of itself. When I look back and compare that publisher and Red Adept Publishing? Yeah, there’s no comparison at all. Why? Red Adept’s contract is very friendly to authors and the quality of work they’ve produced over the last several years stands for itself.

Since I signed with Red Adept, the publisher has seen another author hit the New York Times list and two authors hit the USA Today Bestsellers List. Those are tremendous accomplishments for any press, not just a small press. What sets them apart is very simple: they are the most professional, enthusiastic, and supportive team of authors and editors that I know and I’m thrilled to be a part of them going forward.

Just the other day, I received an email from my line editor that it was time for Vendetta Protocol to start its final march to publication. We already have an amazing cover and I was fortunate enough to have the same editing team from Sleeper Protocol sign on for the sequel. I’m looking forward to publishing more with Red Adept Publishing in the future. They certainly have changed my life. I’m very glad that I decided to go with a small publisher, but it matters most that I went with one of the right ones. They’re out there.

Guy’s Top Five Favorite Publishers

I’ve been writing since the mid-1970’s. During that time, I’ve assembled a huge assortment of trunk stories. I could just let them rot away, but I don’t like to waste my time and energy. I poke at them every so often until I find a suitable market and — this part is important — I’m comfortable with the quality of the story.

Over the years I’ve found plenty of different types of markets, ranging from “for the love” to pro-level. If one of my trunk stories will work for a non-paying market, I don’t mind sending it in to the editor. I feel that it’s a better location than a hard drive that will eventually fail. Because I’m a prolific writer, it doesn’t take me long to produce stories. Now that I’m switching to dictation software because of worsening carpal tunnel issues, I expect my output will expand even further.

Here are some of my current favorites:

WordFire Press

This is a small-to-middling sized pro-level Colorado press owned by Kevin J. Anderson and Rebecca Moesta. I’ve done some minor work for them in the past, and they’re publishing a novel I co-wrote with a couple of friends. Everyone there is wonderful to work with, and I know many of them personally.

Getting published by WordFire means your work will appear next to books by Kevin and Rebecca, who are both award-winning and NY Times/USA Today bestsellers, plus the likes of Brian and Frank Herbert, Alan Dean Foster, Alan Drury (Pulitzer Prize winner), and a host of name-brand, top-tier authors. An added benefit is the ability to attend some of the best conventions as a WordFire author.

Wolfsinger Press

This is another Colorado publisher, albeit a micro press. Wolfsinger puts out several unique anthologies every year, and sometimes I write a story for them just because the anthology concept excites my muse. They respond to questions quickly and actually do thorough edits.

My story, “Grubstake”, appears in Supernatural Colorado, and a story I’ve sent in to their Love ‘Em, Shoot ‘Em anthology was accepted. They sometimes have guest editors, so it’s nice to work with new folks in a familiar environment. Although this press has a token payment and royalty setup, I can report that I actually do receive royalty statements as promised, which can be a rarity with the token-payment or royalty-only presses. They do offer discounted copies for contributors.

Another benefit of Wolfsinger is they also have a couple of fascinating eZines (The Lorelei Signal and Sorcerous Signals). I’ve been published in The Lorelei Signal, and they also put out a compilation in ebook format. Both can add to your bibliography.

James Ward Kirk Publishing

This micro press run by (no surprise) author and editor James Ward Kirk puts out several unique anthologies per year, plus a couple of annuals. This is a for-the-love or a token payment press (two $25 awards for the top two submissions). I love many of their anthology concepts and come up with complete story ideas by the time I’m done reading the submission requirements on their open call page.

I’ve had stories accepted for several of their anthologies, including “We Are Dust and Shadow” for the anthology of the same name; “A Gift of Light” in Bones II; and “The Box”, which appears in Ugly Babies 2. I also have a story in their horror sampler and the Barnyard Horror publications. The anthology editors are great to work with, and they offer good discounts for contributors.

Garden Gnome Publications

Another oddball small press that publishes an interesting series of anthologies called Biblical Legends, amongst others. I co-wrote a couple of stories with Tonya L. De Marco about two robots who go about doing horrible things to humans — enough so that they help to create some of the legends and mythologies we have to this day. “One Bit Off” appears in their Garden of Eden anthology, and “Garbage” appears in Sulphurings.

Garden Gnome has branched out from ebook-only to some limited print versions. I am always pleased when I have more print books that I can pile on a table at a convention. This is a token-payment publisher, but they’re fun to work with.

Daily Science Fiction

If you’re not signed up for their weekday free stories that appear in your inbox, you’re missing out. This is a small SFWA-approved venue that pays better than pro rates. When they picked up my short story, “A Case of Curiosities”, I was qualified to join SFWA. This is a tough market to crack, but certainly is worth your efforts.

The owners are the editors, and they enjoy a wide range of micro-to-short speculative fiction. They do enjoy mild horror (with a speculative bent) and fantasy. DSF should be one of the first group of publishers you send your best work to. They also on occasion publish a gigantic print anthology of the best works that appeared that year.

♦ ♦ ♦

The bad thing about letting you know about my favorite publishers is that I can now expect more competition for slots. I would suggest you buy several works from each publisher you’re interested in working with to see the types of stories they pick up. Besides, it’s important to support the publishers we all want to succeed.

Best of luck with your submissions!

 


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

The Call of the Small Publisher

Beware! All small publishers aren’t created equal, and most of them will do absolutely nothing for you except waste your time and tie up your rights.

First of all, there was a time when a small publisher could really help a writer. But this was before the Internet and before services widely used by small publishers weren’t readily available to writers.

Nowadays all services that are available to small publishers are available to writers in one form or another, everything from editing to interior and cover design to printing to promotion to distribution. As a writer, you can become the publisher. You don’t have to rely on someone else to control your writing destiny.

Now, if you talk to enough people you will hear plenty of positive and negative stories about small publishers, and this includes print and e-publishers.

I have been with three small publishers over the last fifteen years. I needed the first small publisher because it was when the Internet was still in its infantile stage, and self-publishing had so many negative connotations.

Back then, subsidy publishers were rip-off traps that raped writers young and old. They charged outrageous prices for their services and offered little help after they finished printing your book. You were left to swim or drown. Most writers drowned, never recouping their initial investment. Many of these companies are still in business in one form or another.

My first publisher represented a dozen or so writers and helped when they could, but they had a limited budget. Most of the footwork and promotion was up to me. I understood my part and did what I could to promote my book. Things were going along slowly, but smoothly. Then, the publisher ended up biting the dust, and that was it. I was back to square one.

My second publisher was someone I respected greatly. He had been in the business for a long time, and had connections with a lot of different people in the industry. But publishing is a grind. It burns out those with the best intentions. He ended up giving all his authors back their rights and closed shop. To his credit, he helped me a lot with my writing and was the first person to suggest I start my own publishing company. The company would publish one author—me. I should have taken his advice.

Unfortunately, I was offered a three year deal from a larger small publisher, one that represented several hundred authors in one form or another. They gave me a small advance that was used for a three minute video to promote the book. When I signed the contract I knew they were a lot different from my previous two publishers. Their contract was much longer, and contained clauses that would make it difficult to leave if I wanted to sever my relationship early.

Things started off well. They were polite and attentive, answering all my questions. But in the back of my mind there were things I didn’t like about them. I almost didn’t sign with them, and looking back at it I should have followed my gut and passed on their offer.

First of all, their acquisition editor confused me with another author. That was the first warning. Then, they didn’t care what size the book was or what was on the front cover. They were like ‘that’s up to you.’ Then came the price they would charge for the book, and my discount rate. I thought both were too high for an unknown author.

Lastly came the advice they gave me for any future books. They suggested that I make them a certain length so they would be easier to package. After a few months, I realized I was going to make zilch from this deal unless I really busted my butt. They were going to make money no matter what happened.

That’s when it hit me! Why bust my butt for a small percentage when I can bust my butt and reap the lion’s share.

Now I have to admit that I had no idea about cover design, interior design, blurbs, price points, discounts, promotional pieces, giveaways, reviews, ISBNs, and a bunch of other information that my publisher knew.

But you know what? All that information is readily available on the internet. There are many good people out there who are willing to help you. Of course, you have to beware of the many sharks too, but it is like any business. There will always be good with the bad.

Next, look at the life expectancy of many small publishers, both traditional and on-line. Notice how many of them are out of business after a short while. A lot of them! They will never have the passion that you have for your work. no matter what they say. Many of them are like a lot of agents—they will suck your blood dry, and then when there is nothing left, they’ll move onto the next victim. I mean writer.

If you can start your own publishing company this is the best time to do it. There is a ton of information out there. If you’re still a little nervous about taking the plunge, team up with another writer. You can share the cost, the hours, the ups and downs.

But remember, it’s a business and you should treat it like a business. The more you put into it, the better chance you will get something positive out of it. But be realistic. Most likely, you will never get rich. You probably won’t even make a living or you will make a marginal living.

As writers, we all want to make money, but if you’re in the business just for the cash, do something else. You can make a lot more money in other lines of work.

Lastly, I want to give two references that everyone should read if they even have an inkling of becoming a publisher or if they just want to become a better writer.

One of these people I know well, and I consider him a friend. He’s smart and at times inspirational. The other is someone that I don’t know. But the guy is friggin’ brilliant. Every article I read from him gives me hope and makes me want to write and publish.

The first gentlemen is Harvey Stanbrough. You can find him at HarveyStanbrough.com. The second gentlemen is Dean Wesley Smith. You can find him at deanwesleysmith.com.

Guest Bio:
Glen M Glenn is an entrepreneur and a fiction writer. His books Last of the Firstborn, Dark Ritual and Sheepland will be coming out later this year. You can check his website out at glenmglenn.com.

 

Are Small Publishers a Small Price?

When it comes to publishing, opinions vary by wide margins. Some say traditional publishing is the only way to get noticed, to come out with a quality book, and to have a chance at a wide readership. Others say traditional publishing is a scam, they use their authors, and only the top sellers get anything out of the relationship. For some, indie publishing is the only way to go. The writer has full autonomy of their work; able to make the covers, formatting, and editing quality the way they think it should be done. Yet, I’ve seen some authors and readers turn their noses up at indie publishing, saying it floods the market with sub-par books and the writers are wannabe hacks who couldn’t cut it in “real” publishing.

And then we come to small publishers. Are small publishers a middle-ground or a scam? Because the books are vetted by non-partial book enthusiasts, does that lend them more credibility? Are they run by publishing novices who don’t really know what they’re doing? Do they have the power to increase marketing and exposure or is it just self-publishing where the author does more work and never sees royalties? Are authors risking their novels/career/time because the small publishers always fold within five years? Are authors increasing productivity because a small publisher takes care finding and working with editors, cover artists, and formatting?

In short, what does it cost us to use a small publisher and what are the rewards? This is the question we’ll be asking this month. Read each day for views from the authors and the publishers. Our fictorians and multiple guests are going to be writing about personal experience and personal views. As always, we’d love to hear your comments. Keep the conversation civil and discard any preconceptions. Let the debate begin:

Colette Black Bio:
Author PicColette Black lives in the far outskirts of Phoenix, Arizona with her family, 2 dogs, a mischievous cat and the occasional unwanted scorpion. Author of the Mankind’s Redemption Series, The Number Prophecy series, and the new Legends of Power series, Colette writes New Adult and Young Adult sci-fi and fantasy novels with kick-butt characters, lots of action, and always a touch of romance. Find her at www.coletteblack.net