There was a time in my life when I picked up a book in a store and saw it only for the impression of its cover and the beauty of the words within. Back then, I did not examine the binding quality of a novel or imagine its word count. I rarely even glanced at the publisher of a book and the copyright policy within, let alone the ISBN number and barcode on the back cover. To me, a novel was a story—not a product. And I was much more interested in stories.
Then this weird thing happened.
Practical me not only started a publishing company, but dragged myself to
college for business. Slowly, I developed a passion that was no longer for the
mere story. Now I longed to direct the whole product. I wanted to finish the
story by overseeing its physical creation and by ensuring that it was read.
There was a sharp learning curve, which I hope I can soften for you—be you
hopeful author longing to understand the system or aspiring self-publisher
desiring to carve out a living in this changing industry.
Without further ado, here are
the eight things you as a writer need to understand about publishing:
1) Copyrights. You
may be surprised to learn that your work is already copyrighted. According to
the law no one can come along and steal your writing. All the same I encourage
authors to go through the formalized copyrighting process found on this
government website: http://www.copyright.gov/.
Electronic filing costs only $35 and it provides great peace of mind.
Importantly, the formal copyright requires you to be paid attorney’s fees if
you must go to court to defend it.
2) Barcodes. Flip
any book over and you will see a row of lines, usually in the bottom right or
left hand corner. This is called a barcode. Nearly all products designed for
sale in stores carry a barcode. This is what allows a cashier to scan the
product, find the price, and charge the customer. Few bookstores will carry a
novel without that barcode.
3) ISBN numbers. The
barcode is generated from the ISBN number, which can only be assigned to a
publisher by the www.isbn.org/ website.
Anyone else claiming to sell you an ISBN number will be registered with the
government as the owner of the book. So if you are considering self-publishing,
I strongly advise you to buy your own ISBN number. A bulk of ten costs $250,
which—when averaged out—amounts to a mere $25 a book. Unfortunately, ISBNs are
only given to publishers. This means you have to incorporate. If you are working with a traditional publisher, than this
does not affect you.
4) Royalties. The
word ‘royalties’ refers to the money authors are paid for the right to produce
a book. Different publishers offer different types of royalties. While many
authors receive an advance, beginning writers should not expect that. The
publishing company is already taking a huge financial risk on a ‘nobody’ and
are unlikely to put more money upfront. Most authors earn a percentage of every
book sold. This might sound good. Seven percent of a $19.99 hardback book is an
astounding $1.40. But when that book gets demoted to a paperback which sells for
$6.99 or the Kindle edition hits a promotional price of $5.00, the author’s profits
shrink to $0.49 and $0.35 a book, respectively. Since the novel will likely
remain in paperback for the rest of the author’s life, the six months of
incredible $1.40 profits will become a long-forgotten memory. This is why many
best-selling authors claim a steady $1.00 a book. While there are less profits
in the beginning, there are considerably more in the long-run.
5) Publishers. You
may, rightfully, be wondering just what a publishing company does to deserve
$18.99 of your $19.99 hardcover. You would be surprised how little profit they
actually keep. Bookstores want a cut of around sixty percent. That’s $12.00
plus your $1.00 gone, leaving them with $7.00. Next kiss a ten percent
commission goodbye for the use of distributors, dropping the publisher to $5.00
a book. That is used to pay printers, editors, illustrators, shippers, marketers,
and on and on. When the price drops for the paperback edition finding a profit
becomes even tougher work for the publisher. So do not imagine that you are
being robbed as you examine your first contract with a professional publisher.
The goal is to get your name out, not to move to a mansion in New York city.
6) Distributors. For
their ten percent commission, just what is it distributors do? They sometimes
warehouse books, but their primary function is to put a picture of a book with
its summary in a catalogue with dozens of others novels, ship it to a
bookstore, and wait for orders. Ten percent for that? Unfortunately, many
bookstores will not deal directly with publishers. This necessitates the
services of a distributor.
7) Covers. Don’t judge a book by its cover. Heard
that before? Truth is, we all do. Book covers are the first impression a book store
and a potential reader have with a novel. From the cover we take our buying
clues. If the image is grainy, we imagine the editing inside will be poor. If
the cover has a brooding teenage girl on the front, we run away from what we
envision to be just another vampire novel. It is easy to see why covers are so
important. They have a major impact on where your book will be carried and who
will purchase it. Do not expect control over your cover when working with a
traditional publisher.
8) Editing.
While most of the editing done to your book will be simple grammar changes,
publishers have the right and the will to hack away any part of your novel they
want to. Be prepared.
Overwhelmed yet? Do not be. Traditional
publishers take away much of the stress of the facts you just learned, allowing
you to spend less time calculating figures and more time enjoying your craft.
-Jessie Mae Hodsdon
-Jessie Mae Hodsdon
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