Off to NYC tomorrow. The big book trade show, Book Expo America, starts Friday. It is an amazing show for those who love books. You are almost guaranteed to see someone famous, since books by famous people sell well.
Quill Driver Books doesn't have a booth. All of the action is in networking and rights sales. It used to be that independent bookstore owners and managers came to the show and placed orders, but that is a thing of the past—for the most part.
Today there are fewer bookstores and the owners use other methods to learn about new books. Still, all the big publishers will be there, and most stack at least some of their new releases out so anyone who wants can take a free copy.
Scores of authors autograph books according to a posted schedule. The books are free, so the lines to get them are often quite long.
I spend a lot of time walking the floor, running into people I know, often only from shows like this. I have scheduled meetings with different buyers, sales reps, agents, and old friends. At night there is always one party or another, hosted by a large publisher or distributor, to go to.
I met Dr. Ruth at one of those parties a number of years ago and our book, Dr. Ruth's Sex After 50: Revving up the Romance, Passion and Excitement was the eventual result. The party was hosted by Playboy (they publish books too). I went as the guest of my friend John Kremer, the book marketing guru.
Alan Greenspan is giving a talk Friday night. It's all a lot of fun. And like every business, this is a people business so networking is important. My son, Josh, owns American West Books, a successful book wholesaler. We'll fly there together and meet after the work day for the festivities, but that's about all I'll see of him.
—Steve Mettee
Tuesday, May 29, 2007
Friday, May 25, 2007
For an Author, Blogging is Marketing
One of the most effective marketing an author can do is to develop and maintain a Web presence. This means both a website and a blog.
Blogger Rob Enderle (ITBusinessEdge) presents a strong argument for the importance of blogging in marketing here. It doesn't hurt that he plugs QDB's The New Influencers as well.
Publishers Weekly reports on the Simon & Schuster–Author's Guild latest confrontation in an article on PW Daily. It has been traditional for the rights to a book to revert to the author after the book goes out of print. Basically, out of print means the book is no longer listed in the publisher's catalog and there is no longer any stock in the publisher's warehouse. Getting the rights back allows the author to try to find another publisher who would like to republish it.
S & S announced recently that they would include wording in their standard contract that would give S & S the rights without any provision for those rights ever to revert to the author. S & S's argument is that the book would still be available on a print-on-demand basis, thus, in a way, still in print.
Certainly the ability to deliver books digitally and via POD avenues clouds the out-of-print issue. If a book can be ordered one at a time from a POD venue or as a PDF off the publisher's warehouse, does that constitute in print?
A book that a publisher has lost interest in promoting and distributing is unlikely to sell many copies via digital avenues. (Of course, the argument that the author should still be promoting his book and that the sales generated by him will keep the publisher's interest up has merit.)
We've gone to using a formula based on royalties paid to the author. If QDB has run out of inventory, but is still generating sales via digital or POD avenues, and paying the author X dollars in royalties each year, then the book is considered still in print. If the royalties drop below a certain threshold for two reporting periods in a row, the book is deemed out of print and the rights revert back to the author.
Of course, what we, and most publishers would like, is for the author to work with us to try to get the book selling again. Maybe an update is called for? Maybe the author can begin going on the lecture circuit, or maybe he or she can start blogging. (See above.)
—Steve Mettee
Blogger Rob Enderle (ITBusinessEdge) presents a strong argument for the importance of blogging in marketing here. It doesn't hurt that he plugs QDB's The New Influencers as well.
Publishers Weekly reports on the Simon & Schuster–Author's Guild latest confrontation in an article on PW Daily. It has been traditional for the rights to a book to revert to the author after the book goes out of print. Basically, out of print means the book is no longer listed in the publisher's catalog and there is no longer any stock in the publisher's warehouse. Getting the rights back allows the author to try to find another publisher who would like to republish it.
S & S announced recently that they would include wording in their standard contract that would give S & S the rights without any provision for those rights ever to revert to the author. S & S's argument is that the book would still be available on a print-on-demand basis, thus, in a way, still in print.
Certainly the ability to deliver books digitally and via POD avenues clouds the out-of-print issue. If a book can be ordered one at a time from a POD venue or as a PDF off the publisher's warehouse, does that constitute in print?
A book that a publisher has lost interest in promoting and distributing is unlikely to sell many copies via digital avenues. (Of course, the argument that the author should still be promoting his book and that the sales generated by him will keep the publisher's interest up has merit.)
We've gone to using a formula based on royalties paid to the author. If QDB has run out of inventory, but is still generating sales via digital or POD avenues, and paying the author X dollars in royalties each year, then the book is considered still in print. If the royalties drop below a certain threshold for two reporting periods in a row, the book is deemed out of print and the rights revert back to the author.
Of course, what we, and most publishers would like, is for the author to work with us to try to get the book selling again. Maybe an update is called for? Maybe the author can begin going on the lecture circuit, or maybe he or she can start blogging. (See above.)
—Steve Mettee
Thursday, May 24, 2007
Take Good Photos
One of the proposals I looked at last weekend was for a local history book. As happens, the author had visited historical sites and taken photographs himself with which he was suggesting the book could be illustrated.
IMHO this doesn't usually work. Most photographs by amateurs are, well, amateurish. In one of the photos sent with this proposal, the subject was a interesting rock formation. But in the photo a white SUV was parked behind the rocks and about three feet of it extended beyond the edge of the rock as if it were a pale appendage. The shocking white against the darker rock stole the viewer's attention.
You see this same type of problem in photos of people where a telephone pole appears to be growing out of someone's head.
Another photo was of one of those brass historical markers. The top of the marker was cut off and the photographer hadn't positioned his camera properly so the sides of the marker appeared to converge inward toward the top.
Historical illustrations are best for history books, but if you must take photos yourself, develop an eye for composition.
This week we are hard at work doing the final editing and putting all the finishing touches on our fall 2007 titles as well as keeping all the marketing and other plates spinning.
—Steve Mettee
IMHO this doesn't usually work. Most photographs by amateurs are, well, amateurish. In one of the photos sent with this proposal, the subject was a interesting rock formation. But in the photo a white SUV was parked behind the rocks and about three feet of it extended beyond the edge of the rock as if it were a pale appendage. The shocking white against the darker rock stole the viewer's attention.
You see this same type of problem in photos of people where a telephone pole appears to be growing out of someone's head.
Another photo was of one of those brass historical markers. The top of the marker was cut off and the photographer hadn't positioned his camera properly so the sides of the marker appeared to converge inward toward the top.
Historical illustrations are best for history books, but if you must take photos yourself, develop an eye for composition.
This week we are hard at work doing the final editing and putting all the finishing touches on our fall 2007 titles as well as keeping all the marketing and other plates spinning.
—Steve Mettee
Tuesday, May 22, 2007
Looking for Gold in Book Proposals
I spent some time this weekend going over a stack of book proposals I'd received while on my management retreat.
Since I wrote a book on how to write a book proposal, I believe I tend to get more than the average independent publisher.
For me this is an exciting part of my job. What if I find a book to publish that will change the world? Or at least change mine by making a ton of money?
Here is a quick rundown—in no particular order—of a few I looked at. I'll obscure some of the details so as not to embarrass anyone.
A CPA sent me one based on the book of Job aimed at the Christian reader, or at least at a reader whom he would like to become a Christian. It was, not unexpectedly about dealing with life's hurdles.
The proposal was pretty well done. I liked the fact that the author seemed to have a lot of enthusiasm. I decided not to make an offer on it because 1.) We don't do books for the Christian market. Christian bookstores use established Christian book publishers as their gatekeepers. If a book isn't by a publisher they trust, they are much less likely to stock a book. 2.) It didn't fit into any of our categories, such as the Best Half of Life series for those over 50 or our Books to Build Your Career By series. This isn't an absolute necessity, we publish books outside of these series, but it helps.
Unfortunately this author won't ever know that I read his proposal because he didn't enclose an SASE (a stamped, self-addressed, envelope) for my reply. This may sound haughty, but I get way too many queries and proposals to dig out an envelope, address it, and figure out the correct postage—not to mention the cost. If an author has done just a little bit of homework, he or she will know that an SASE is customary if you want to hear from a publisher who isn't interested in your project. Naturally if the editor is interested he'll contact you whether you include an SASE or not.
Another proposal was from a pair of young ladies who wanted to pass on information they wished they had learned in school, but hadn't. It looked like a fun idea, the table of contents they proposed seemed to offer interesting material but the information in the sample chapters they sent was too mundane or simplistic for my tastes. That last phrase, "for my tastes," is telling. Just because I don't like a project is far from the final word on it. There may be an editor out there who "gets it" like I never would.
They had enclosed an SASE, so, as I always do, I wrote a short note declining the project.
A proposal from a retired teacher who is writing his memoirs of all the interesting things his many years teaching brought him didn't light my fire either. Memoirs are tough unless the writer is famous, had a truly exceptional life, or is a truly exceptional writer. He mentioned he has had 20-plus books published but failed to include a list. I would suggest he include a list with some information on sales. That is an impressive quantity and if they sold well, might have influenced my decision.
A giant package was from New Zealand. The author sent the complete manuscript, which appears to be about 400 pages long, and a box of original photos instead of the a set of photocopies of the originals which is safer. His isn't a subject I'm currently interested in, although we did a couple of books on this subject in the past. A check for $80 was included for the return postage. This requires us to deposit the check and make a trip down to the post office to mail the package. I'm not at all sure a large publisher would get around to doing this. A workaround would be for the author to have included international reply coupons (I think that's what they are called) already affixed to the envelope he supplied. This would have saved us having to cut a check and a trip to stand in line at the post office.
Was there anything I liked in this stack? Maybe. I put a proposal on movies aside to read again. The author seems to have a bit of a platform and does have a good idea.
Oh yeah, and a proposal from Chuck Adams, the author of Murder by the Bay—a successful book QDB published a couple of years ago. His idea this time is completely different than Murder, but he's a good writer and it's a good idea. We'll see.
—Steve Mettee
Since I wrote a book on how to write a book proposal, I believe I tend to get more than the average independent publisher.
For me this is an exciting part of my job. What if I find a book to publish that will change the world? Or at least change mine by making a ton of money?
Here is a quick rundown—in no particular order—of a few I looked at. I'll obscure some of the details so as not to embarrass anyone.
A CPA sent me one based on the book of Job aimed at the Christian reader, or at least at a reader whom he would like to become a Christian. It was, not unexpectedly about dealing with life's hurdles.
The proposal was pretty well done. I liked the fact that the author seemed to have a lot of enthusiasm. I decided not to make an offer on it because 1.) We don't do books for the Christian market. Christian bookstores use established Christian book publishers as their gatekeepers. If a book isn't by a publisher they trust, they are much less likely to stock a book. 2.) It didn't fit into any of our categories, such as the Best Half of Life series for those over 50 or our Books to Build Your Career By series. This isn't an absolute necessity, we publish books outside of these series, but it helps.
Unfortunately this author won't ever know that I read his proposal because he didn't enclose an SASE (a stamped, self-addressed, envelope) for my reply. This may sound haughty, but I get way too many queries and proposals to dig out an envelope, address it, and figure out the correct postage—not to mention the cost. If an author has done just a little bit of homework, he or she will know that an SASE is customary if you want to hear from a publisher who isn't interested in your project. Naturally if the editor is interested he'll contact you whether you include an SASE or not.
Another proposal was from a pair of young ladies who wanted to pass on information they wished they had learned in school, but hadn't. It looked like a fun idea, the table of contents they proposed seemed to offer interesting material but the information in the sample chapters they sent was too mundane or simplistic for my tastes. That last phrase, "for my tastes," is telling. Just because I don't like a project is far from the final word on it. There may be an editor out there who "gets it" like I never would.
They had enclosed an SASE, so, as I always do, I wrote a short note declining the project.
A proposal from a retired teacher who is writing his memoirs of all the interesting things his many years teaching brought him didn't light my fire either. Memoirs are tough unless the writer is famous, had a truly exceptional life, or is a truly exceptional writer. He mentioned he has had 20-plus books published but failed to include a list. I would suggest he include a list with some information on sales. That is an impressive quantity and if they sold well, might have influenced my decision.
A giant package was from New Zealand. The author sent the complete manuscript, which appears to be about 400 pages long, and a box of original photos instead of the a set of photocopies of the originals which is safer. His isn't a subject I'm currently interested in, although we did a couple of books on this subject in the past. A check for $80 was included for the return postage. This requires us to deposit the check and make a trip down to the post office to mail the package. I'm not at all sure a large publisher would get around to doing this. A workaround would be for the author to have included international reply coupons (I think that's what they are called) already affixed to the envelope he supplied. This would have saved us having to cut a check and a trip to stand in line at the post office.
Was there anything I liked in this stack? Maybe. I put a proposal on movies aside to read again. The author seems to have a bit of a platform and does have a good idea.
Oh yeah, and a proposal from Chuck Adams, the author of Murder by the Bay—a successful book QDB published a couple of years ago. His idea this time is completely different than Murder, but he's a good writer and it's a good idea. We'll see.
—Steve Mettee
Tuesday, May 15, 2007
Still Learning
I always love a learning curve. If you're in doubt, blogging is a new sport for me. I understand that blogging is the new journalism, a democratic journalism where everyone has a say. And, of course, I read blogs from time to time--especially those that mention our books, but I still have plenty to learn.
.
For instance, yesterday I thought it would be a clever idea to add a place on this blog where Google's AdSense could place an ad. I didn't suppose we would make much moola from from it, but it was simple to do and it seemed like a thing one does with a blog.
.
Unfortunately, the first ad Google paired us with was one for an Internet vanity publisher so it looked like we were endorsing this company. Please note, I deleted the ad toot sweet.
.
I've spoken at a number of writer's conferences where one of the other presenters was from one Internet vanity publisher or another (sometimes called an "print on demand" publisher or subsidy publisher), and I was on a panel with one a couple of months ago.
.
I'm not saying there isn't a scenario where using using one of these company's services might work—on one level or another—for an author. For instance if you want 40 copies of your memoir for friends and family, this might be a simple way to get them. But it isn't an entree into becoming published in the sense that you'll find your book on the shelf at Barnes & Noble in Trenton, New Jersey. Or in a library in Batavia, Illinois. The costs and distribution structures used by the Internet vanity publishers don't work in the book trade where trade wholesalers usually need a 55% discount off the retail price (retailers require 40% or more and normally buy through wholesalers) and books are returnable to the publisher from the bookstores if they don't sell.
.
Some of these vanity presses even make rational-sounding promises about helping you market your book. Be especially wary here.
.
I questioned a representative of an Internet publisher at one of these conferences and he finally admitted most books from his company sell fewer than 50 copies. Only a handful had sold 500.
.
If you can't find a conventional publisher for your book, you might investigate self-publishing. Read Dan Poynter's Self-Publishing Manual first. In it he lists book printers real publishers use and you can get your cost per book down so you can afford to offer it to the stores and wholesalers. Don't forget editing, design, marketing and a hundred other tasks handled by the conventional publishers go into self-publishing.
.
Another thing I'd like to learn is how to format these paragraphs with indents or at least a space between them so I don't have to put those periods between them.
—Steve Mettee
.
For instance, yesterday I thought it would be a clever idea to add a place on this blog where Google's AdSense could place an ad. I didn't suppose we would make much moola from from it, but it was simple to do and it seemed like a thing one does with a blog.
.
Unfortunately, the first ad Google paired us with was one for an Internet vanity publisher so it looked like we were endorsing this company. Please note, I deleted the ad toot sweet.
.
I've spoken at a number of writer's conferences where one of the other presenters was from one Internet vanity publisher or another (sometimes called an "print on demand" publisher or subsidy publisher), and I was on a panel with one a couple of months ago.
.
I'm not saying there isn't a scenario where using using one of these company's services might work—on one level or another—for an author. For instance if you want 40 copies of your memoir for friends and family, this might be a simple way to get them. But it isn't an entree into becoming published in the sense that you'll find your book on the shelf at Barnes & Noble in Trenton, New Jersey. Or in a library in Batavia, Illinois. The costs and distribution structures used by the Internet vanity publishers don't work in the book trade where trade wholesalers usually need a 55% discount off the retail price (retailers require 40% or more and normally buy through wholesalers) and books are returnable to the publisher from the bookstores if they don't sell.
.
Some of these vanity presses even make rational-sounding promises about helping you market your book. Be especially wary here.
.
I questioned a representative of an Internet publisher at one of these conferences and he finally admitted most books from his company sell fewer than 50 copies. Only a handful had sold 500.
.
If you can't find a conventional publisher for your book, you might investigate self-publishing. Read Dan Poynter's Self-Publishing Manual first. In it he lists book printers real publishers use and you can get your cost per book down so you can afford to offer it to the stores and wholesalers. Don't forget editing, design, marketing and a hundred other tasks handled by the conventional publishers go into self-publishing.
.
Another thing I'd like to learn is how to format these paragraphs with indents or at least a space between them so I don't have to put those periods between them.
—Steve Mettee
Sunday, May 13, 2007
Got to start somewhere
Freeport, Bahamas.
Every so often I take a few days and go some place for what I call an "Upper Management Company Retreat." Since I define myself as the only person in upper management, these retreats tend to be quiet and relaxing.
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They give me a chance to:
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• Get my mind around the bigger picture
• Make written plans
• Get projects I couldn't find the time to do off my plate...like getting this blog started.
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And finishing the content editing of Fear and Loathing of Boca Raton: A Hippies' Guide to the Second Sixties by Steven Lewis, a title we will be publishing in the fall of 2007. Fear and Loathing is an anti-retirement retirement book. The first self-help book to claim to not be a self-help book. It's a grand title for us baby boomers looking at retiring in the next 10 years. Lewis has a witty engaging style.
I tacked this trip to Freeport onto a trip to New York City for semi-annual sales meetings. Publishers and sales rep groups hold a flurry of meetings where the publisher introduces the next season's titles. Generally speaking, there are two seasons in the book biz when new titles are released. One in the spring and one in the fall.
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This blog is envisioned to be a place where the people at Quill Driver Books can talk about what we do in our day-to-day work, to discuss the decisions we make, to bury our failures, vent our frustrations and celebrate our successes. We also invite you to chime in.
I don't guarantee we'll make daily posts, but if you are interested in the inside workings of an independent book publisher, please bookmark this blog or rss or whatever you're suppose to do so you won't forget about it.
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BTW, coming from a fellow who just had to eat crow for adding the words, "A Very Unique Book" (Think about it.) to one of the sell-sheets I used in NY, I don't promise perfect spelling, punctuation, or editing. Editors are human too. (That's why we hire proof readers, who are super human.)
—Steve
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