Category Archives: Publishing

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.

Mis-Adventures with a Small Press

I started my writing career with the glassy eyed hope of being traditionally published by a New York Publishing House. My books would be in book stores (this was a while ago, back when Borders was still in business and Barnes and Noble was going strong), people would line up out the door for my signings, I’d have options for movies and I’d get fan mail asking when my next book would be out. Or death threats for killing a character.

Well, it’s pretty hard to break into that world, which I found out the slow and painful way. I decided I would write a book with the purpose of getting it published. A year later it was “ready.” I queried every agent I’d ever met, and some I hadn’t. I did my research and sent my manuscript off to about forty agents and a couple of publishers that took open submissions. Then I waited.

I knew it was a good story, but I didn’t realize that it wasn’t up to snuff for major publishing. After about six months of rejections, I was with my writing group and one of them had heard of a new press in our area. They were small, but after some quick research I felt that they would be innovative enough to keep up with the quickly changing publishing world. Almost on a whim, I submitted the first three chapters and a synopsis of my novel. And waited again.

A couple of months after that, I met this publisher at a conference. They were all really young, and I was a little afraid, but they remembered my story and asked for the rest of it. I obliged. A couple of weeks later, I had a publishing contract with them. I was on cloud nine!

Then, of course, reality set in. The original publishing date for my manuscript got pushed back not once, but twice. It only took me forty-five minutes to go through the “heavy editing” pass for my book. Trust me, it wasn’t that good. I never got a finalized copy edit from the publisher, and never received an e-copy of my book.

The biggest surprise was how much marketing they expected me to do. The only real direction I got was to be on as many social media platforms as possible and become the queen of them. Interact. Reach out. Be cool. Which isn’t terrible advice, but social media is not my forte. Which left me stressing about getting 30+ Tweets out a week and as many comments on other people’s stuff along with Facebook. And whatever else I could get involved in.

The only marketing my small press did for me was setting up book signings around my home, which was nice, and providing bookmarks and ARC copies of my book. After that, I was totally on my own. A rock tossed into a lake that had one trajectory—down.

I did see my book in Barnes and Noble (Sorry the picture is fuzzy, but my book is there), which was awesome. What wasn’t awesome was that they put it in the adult fantasy section. Right next to Brandon Sanderson. Hello, I write YA, not adult stuff. Brandon Sanderson readers would likely not dig my book. Which is fine, they’re not my audience. I talked to every B&N I went to and finally found out that the B&N hierarchy had somehow put my book into the category they thought it “Fit best” in.  Uh, no. Nothing I did could change their minds. Which was frustrating.

Paralleling my experience with a small press, I had a friend who went Indie. She was building an audience and having a great deal of success as she figured out how to utilize Amazon to do her bidding.

One day I sat in a room full of authors doing book signings. Brandon Sanderson was in one corner, with his line out the door. Next to me sat a woman who had made six figures the year before Indie publishing. Not going to lie, I checked out her books and they weren’t that great, but they were in the “all the rage” category at the time. My brain went into action.

I had a long conversation with myself about what I really wanted. Did I want that line, or did I want to make money? Which you can do with a New York Press, but it’s very difficult with a small press. It’s not picnic with a large press either, especially since more and more of the marketing responsibility is being laid at the author’s feet. And without control over your categories and price point on-line it makes marketing more difficult.

After my book had basically tanked after two months, and my small press said they wouldn’t publish the second one unless I somehow sold a bunch of copies of the first, I decided to get out. I’d put a clause in my contract that they only had 60 days for their first rights of refusal. They went beyond that, and I got out. No fuss. No hard feelings. It just didn’t work out for me.

As I look back, I see that this small press wasn’t prepared for their own ambitious publishing schedule. Almost everyone there were interns (not actually paid) so you never knew if you were getting a good edit or even good advice. No one was trying to screw anyone else, but a company can only break so many promises before things go south.

Was it worth it to see my book in a bookstore? Yes. Would I do it again? Not sure. I needed that experience. It was my dream, and it came true. But like so many dreams, it wasn’t quite what I had pictured.

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.

 

Publishing in the Boondocks

This month’s subject for our Fictorians posts is about small and local publishers.

I’ll just get this out of the way right now. I live in a rural area in Arkansas and the closest significant publisher of sci-fi or fantasy books is far enough away that distance simply isn’t relevant.

So that leaves “small publishers.”

I’m afraid I don’t have any real experience there either.

Well, unless you consider my self-publishing under my own LLC I created to have a separate business unit for publishing. That’s a pretty small publishing company, being just a part-time portion of me.

But here’s the thing. While the concept of being your own publisher was crazy talk two decades ago, it is getting more and more feasible every year. With access to eBook sales platforms like Kindle, Kobo, Smashwords, etc. it is true that a self-published author can reach an arbitrarily large audience. Add in the print on demand services like Amazon’s CreateSpace, and that reach includes people who still want to hold a dead tree in their hands.

The major problem with that sort of self-publishing is the lack of support that a traditional publisher provides. But even that is changing as smaller “traditional” publishers are offering pared down services that may not include the marketing, promotion, printing and editing services they used to offer to all authors. A savvy self-published author can find free-lance services for editing, graphics, proof-reading, etc. Which really leaves promotion as the major area that traditional publishers still offer a major benefit to authors.

But I’m wondering how much longer that will be the case with crowd-sourcing services growing, and social media giving authors a platform with worldwide reach without an agent, a publisher or deep pockets.

I plan on trying one more time with my next book to get a traditional publishing contract. But if that doesn’t work out, I will probably spend the rest of my life self-publishing. At least until I’m so successful at that, that the publishing houses come to me.

I can dream, can’t I?