Category Archives: Networking

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

 

Awesome Releases

When my new publisher, Brick Cave Media, said we would be releasing my new book, Moon Shadows, at Phoenix Comicon, I didn’t want to hope. Now, in two days, the hope will become a reality. It’s been a lot of hard work, on their part and mine, getting a book that started the publication process in late December ready for a release in May. That seems like a long time, but in the world of publishing, that’s extremely short. Why so much work to reach a certain date? Because timing is an important element of a successful book launch.

Brick Cave isn’t the only publisher who likes to release books around significant fan events. I’ve seen many other publishers do the same thing? Why?

  1. Fan anticipation: The more an event advertises, the more excited fans tend to become. As they become more excited, the event and everything associated with it becomes a bit of a holiday. With a holiday mentality, fans are more willing to try new things, check out new authors, and buy that new release that sounds really amazing.
  2. Branding: This is a means by which a seller gets their potential buyers to identify a product quickly.  In the world of marketing, that can be a logo, a jingle, a spokesperson or a number of other ways. Who doesn’t see a gecko and think of Geico? Many authors have a certain way of dressing, presenting themselves, or presenting their booths that help fans identify them quickly. For myself, it’s usually the black and silver beret I always wear. By releasing a book around a fan event, that event becomes part of the book/author/publisher’s branding. Whatever hype and warm fuzzies the fans associate with the event, as the book release is publicized in association with it, can often carry over and even years down the road, the readers will associate the two together.
  3. Crowds: The last one I’ll talk about here, and the most obvious, is the fact that events draw people, more of them than any other venue. I had a book release party at a local restaurant and I had a good turnout from friends and the community. Of course, that doesn’t compare to a Comicon and it never will. And where there are crowds, there are more people to find the new book appealing. Also, as you sell more, the people themselves become advertising. In buyers’ hands, the carrying of your book becomes a walking billboard. It’s as if someone is whispering to everyone around them, “this is good enough it was worth my money, maybe you should check it out.” Nothing beats free advertising except advertising where the person paid you so they could do it. Which is another reason, nothing beats fans.

So, next time you’re getting ready for that book to release, think about what events are happening near your timeline and plan accordingly. This is one of the best ways to get your special sauce tasted among a wide palette of audiences.

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 upcoming 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

 

The Key to a Successful Crit Group – A 29 Year Example

There is a ‘special sauce’ when it come to making group dynamics work and having an effective writers group requires its own special brand of nurturing.

I’ve been a member of the Imaginative Fiction Writers’ Association (IFWA) for several years and I value every moment spent with this group. Founded in 1988 (yes, as of this writing it has been together for 29 years!) IFWA has nurtured, trained, and supported many writers along their writing career paths.

What is IFWA’s secret to success?

There are several factors but my favorite four (besides the fact that the members are awesome people) are:

1) It is not a book club. It is a writing group for writers who want to improve their craft and hone their skills.
To that end, the monthly meeting begins with crits. In the previous month, two people volunteered a work to be critiqued at teh curernt meeting. The work is no more than 5,000 words and usually is either a first chapter or a short story although we have had epic poetry. Two people volunteer to provide a a critique. There are rules for how to critique. To learn more about the art of critiquing, you can read Part 1, Part 2 and Part 3 on a series I wrote on critiques.

The critique porrtion of hte meeting begins with the author reading their story for ten minutes (a necessary skill we all need to practice). Each person critiquing the story gets five minutes to give the author feedback. An opportunity is given to the author to respond and only then is the group at large allowed to provide their feedback (for five minutes) to the author. These guidelines are strictly enforced.

The first time I experienced this process, it was nerve wracking. I read too quickly because I wanted to read the whole story in my allotted ten minutes. Mistake! So, I learned how to read calmly and more slowly. The second time it was much better. Some comments I agreed with and others I didn’t but I had to practice what I knew in my head – that there were things I needed to hear so I could learn them; that everyone has their own opinion and if you ask for it, you have to respect it, no matter what you do with it; and people are much kinder, much gentler than that stupid critic in my head!!!

That’s the thing, everyone in this group offers insight and wisdom, from a reader’s perspective and a writer/editor’s perspective on how the story can be improved. We do it from a genuine desire to see each other succeed. And we run the gamut of skill sets for our members include professional writers, editors, and beginners. No matter what stage any of us are at, we all have something to offer and something to learn – and we know it! This form of humbleness is the group’s core value and that’s why I think it’s been successful for so long.

2) The group isn’t exclusive.
We have every form of writing (screen, short story, novel, novella, graphic art, comic, etc.) and although we are a group for speculative fiction writers, we have lots of other genres and cross genres represented (fantasy, science fiction, horror, thriller, detective science fiction, noir, space opera, and fairy tale to name a few). Some members are published, some edit anthologies (and write too), some are not published. But we are all there with a view to encourage and support each other while encouraging growth in craft and business skills.

Then there are the splitters groups. Splitters groups are formed by members who have specific interests or needs. For example, I belong to a critique group which comments on novels and shorter works with a view to being submitted.

Our members are at all stages of development, including beginners, those trying to break into the market, and published and award winning authors. The group also counts many small publishers and well-known authors as friends.

3) A pay-it-forward attitude is practiced within the group and the larger writing community.
We help each other out with our projects. We share what we know. We organize writing events such as a writers’ weekend, workshops, manage a short story contest, produce an anthology exclusive to the group, attend and participate in national and international cons, and are a large part of organizing and volunteering in the local, annual con When Words Collide. We attend each other’s book launches, readings, and celebrate the victories of getting published and share the disappointment of a rejection. We are there for each other.

4) Skills sessions.
Every meeting has a skills session which can be on any aspect of writing from craft to business. Sometimes the learning comes in the form of a presentation, sometimes it’s a discussion, and sometimes it’s a little of both. But always we learn, always we share and after the meeting that sharing continues at a local pub.

IFWA has a lot to offer its membership because it’s members contribute in so many ways. The group’s enthusiasm is infectious and the friendships are long lasting. This writers group definitely has its own brand of ‘special sauce’.