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IAP Career College Guide to
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Jennifer Fishberg
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IAP CAREER COLLEGE® GUIDE TO BECOME A
BOOK PUBLISHER
by Jennifer Fishberg
ISBN: 978-1-897286-79-1
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IAP Career College Guide to Become a Book Publisher
Contents
About the Author..............................................................................8
Acknowledgements..........................................................................9
1. Introduction...........................................................................................10
1.1 The Book Publishing Business.....................................................12
1.1.1 What Is Independent Publishing?.....................................12
1.1.2 Industry Trends and Statistics...........................................15
1.2 Benefits of Being a Book Publisher.............................................17
1.3 Inside This Guide..........................................................................20
2. Getting Ready........................................................................................23
2.1 Skills and Knowledge You Will Need........................................23
2.1.1 Writing Skills........................................................................24
2.1.2 Computer and Technology Skills......................................25
2.1.3 Research Skills......................................................................27
2.1.4 Interpersonal Skills..............................................................29
2.1.5 Business Skills......................................................................31
2.2 Learning by Doing........................................................................34
2.2.1 Work in a Bookstore............................................................34
2.2.2 Publishing Internships........................................................36
2.3 Learn From Other Publishers......................................................40
2.3.1 Information Interviews.......................................................40
2.3.2 Join Associations..................................................................43
2.3.3Work with a Book Shepherd or Publishing Coach.........47
2.4 Educational Programs .................................................................48
2.4.1Publishing Degrees, Certificates, and Seminars..............49
2.4.2 Other Types of Degrees......................................................52
2.4.3 Business Degrees and Courses..........................................53
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2.5 Resources for Self-Study...............................................................54
2.5.1 Books.....................................................................................54
2.5.2 Websites................................................................................56
3. Starting a Publishing Business..........................................................60
3.1 Should You Start Your Own Publishing ....................................
Company?......................................................................................60
3.1.1 Working with a Self-Publishing Company......................61
3.1.2 Starting Your Own Publishing Company........................64
3.2 Choosing Your Niche....................................................................65
3.3 Choosing a Company Name........................................................72
3.4 Your Business Plan........................................................................74
3.4.1 What To Include In a Business Plan..................................75
3.4.2 Start-Up Financial Planning...............................................82
3.4.3 Business Plan Resources.....................................................91
3.5 Where to Find Start-Up Financing..............................................92
3.5.1 Getting Prepared..................................................................92
3.5.2 Equity vs. Debt Financing..................................................94
3.5.3 Borrowing Money................................................................95
3.5.4 Finding Investors.................................................................98
3.5.5 Government Programs.....................................................100
3.6 Choosing Your Location.............................................................102
3.7 Legal Matters................................................................................105
3.7.1 Your Business Legal Structure.........................................105
3.7.2 Business Licenses...............................................................112
3.7.3 Taxes....................................................................................114
3.7.4 Insurance.............................................................................116
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4. The Publication Process....................................................................120
4.1 Finding and Developing Material for Publication..................122
4.1.1 Writing Your Own Books.................................................122
4.1.2 Working with Authors and Literary Agents..................124
4.1.3 Previously Published Work.............................................130
4.1.4 Contracts and Royalties....................................................135
4.1.5 Subsidiary Rights...............................................................137
4.2 Registering Your Material..........................................................138
4.2.1 ISBN Numbers...................................................................138
4.2.2 Barcodes..............................................................................139
4.2.3 Copyright............................................................................141
4.3 Printing Your Books....................................................................144
4.3.1 Offset Printing....................................................................144
4.3.2 Digital Printing and Print-On-Demand (POD).............147
4.3.3 E-Books...............................................................................148
4.4 Hiring Staff and Freelancers......................................................152
4.4.1 Employees versus Contractors........................................152
4.4.2 How to Find Freelance Help............................................154
4.4.3 How to Find Support Staff...............................................160
4.4.4 The Interview Process.......................................................161
4.4.5 References...........................................................................162
5. Business Operations and Finances..................................................164
5.1 Pricing Your Books......................................................................165
5.1.1 Guidelines...........................................................................165
5.1.2 Retail Pricing Formulas....................................................166
5.1.3 Profit Margin vs. Percentage Markup............................167
5.1.4 Standard Discounts...........................................................169
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5.2 E-Commerce.................................................................................172
5.2.1 Accepting Credit Cards....................................................173
5.2.2 Accepting Payment Online..............................................174
5.2.3 Order Fulfillment...............................................................175
5.3 Getting Your Books Into Bookstores and Libraries................177
5.3.1 Working with Wholesalers and Distributors................177
5.3.2 Amazon and Other Online Retailers..............................182
5.4 Financial Management...............................................................187
5.4.1 Bookkeeping.......................................................................187
5.4.2 Financial Statements and Reports...................................190
6. Marketing Your Books.......................................................................198
6.1 Marketing Tools...........................................................................200
6.1.1 Printed Materials...............................................................201
6.1.2 Your Website.......................................................................207
6.1.3 Social Media ......................................................................214
6.2 Marketing Techniques................................................................218
6.2.1 Advertising.........................................................................219
6.2.2 Free Publicity......................................................................223
6.2.3 Contests and Awards........................................................235
6.2.4 Networking........................................................................237
6.3 Promotional Events.....................................................................238
6.3.1 Book Signings.....................................................................238
6.3.2 Presentations......................................................................241
6.3.3 Trade Shows.......................................................................243
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About the Author
Jennifer Fishberg is a freelance writer based in New Jersey. She holds
a master’s degree in counseling psychology from Rutgers University
and a B.A. in psychology from Douglass College/Rutgers University.
Jennifer has counseled students and alumni on resume writing,
networking, job search strategies, and other career planning and
development issues at Rutgers Office of Career Services, where she
worked as a graduate intern. Her background also includes extensive
experience in the publishing field, where she managed research content
for numerous guidebooks on education and career-related topics
including scholarships, summer programs for kids & teens, services for
students with learning disabilities, and executive education programs.
Jennifer is also author of the IAP Career College Guide to Become a Career
Coach and IAP Career College Guide to Become a Virtual Assistant. Jen
offers professional resume writing services through her website, Career
Karma, at www.careerkarma.net.
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Acknowledgements
Thank you to the following experts (listed alphabetically) for
generously sharing book publishing industry information or business
advice in this IAP Career College guide. Opinions expressed in this
guide are those of the author or editors, and not necessarily those of
experts interviewed for this guide.
• Kimberley Debus
• Florrie Binford Kichler
• Tag and Catherine Goulet
• Sandra Poirier-Diaz
• Sam Hendricks
• Linda F. Radke
Publisher, Mélange Press
A division of Word Alchemy, Inc.
www.melange-books.com
Co-Founders and co-CEOs,
FabJob, Inc.
http://fabjob.com
President, Smith Publicity, Inc.
www.smithpublicity.com
smithpublicity.blogspot.com
Publisher, Extra Point Press
Author, Fantasy Football Basics
and Fantasy Football Tips
www.extrapointpress.com
President,
Five Star Publications, Inc.
www.FiveStarPublications.com
• Leland F. Raymond
• David Hooper
Publisher, CyPress Publications
http://cypresspublications.com
www.MusicMarketing.com
• Shel Horowitz
• Jacqueline Church Simonds
Author, Grassroots Marketing for
Authors and Publishers
Book Shepherd / Marketing
Consultant
www.frugalmarketing.com/
publishers.shtml
Co-Owner, Beagle Bay, Inc.
http://www.beaglebay.com
• Hallie Warshaw
Publisher and Creative Director,
Zest Books
www.zestbooks.net
• Tina Jordan
Vice President, The Association of
American Publishers (AAP)
http://publishers.org
Copyright © IAP Career College
President, Independent Book
Publishers Association (IBPA)
www.ibpa-online.org
•
• Roger S. Williams
Literary Agent,
Publish or Perish Agency
http://publishorperishagency.
blogspot.com
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IAP Career College Guide to Become a Book Publisher
1. Introduction
Congratulations on taking the first step toward starting your own
book publishing company! Do you dream of seeing your own works in
print, or providing an outlet for other new or underrepresented voices?
Do you have a mission or cause to promote through your books, or
a personal experience to share with the world? Does the prospect of
collaborating with editors and designers, networking with literary
agents, and becoming an entrepreneur intrigue you? It’s all part of the
exciting world of book publishing.
While people from many different backgrounds are drawn to the
publishing profession, if you’re considering taking on this challenge
requiring equal parts left and right brain, chances are you’ve harbored
a lifelong love of the written word. Perhaps you’re the creative type
who spent more of your childhood in the local library with your nose in
a Beverly Cleary or Judy Blume book than on the playground.
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Or maybe you discovered your passion for books later in life wandering
the dusty stacks of used bookstores seeking out of print titles. Perhaps
you’ve been called upon in your current job or in your personal life
to use your writing gift to provide information or entertainment to
others. Or maybe you just love reading dynamic books that teach you
something new or make you feel connected to the world in a way you
hadn’t before.
From whatever direction your calling came, publishing is an exciting
and rapidly changing field and books remain a powerful medium of
communication, whether in print or electronic format. A means to, as
author E. M. Forster famously said, “Only connect”. New technology,
such as e-readers and print-on-demand, is challenging many of the
traditionally held beliefs about what kinds of books can be successful,
and redefining what it means to be an author and a publisher in the
digital age. The ease of getting a book printed has leveled the playing
field, removed roadblocks, and enabled new authors and publishers
who have never before had this kind of access to reach an audience
eager for fresh perspectives and specialized niche topics.
But publishing can also be a confusing maze, and there’s no shortage
of companies out there looking to take advantage of this fact, more
interested in opening wallets than in opening doors for would-be
authors and publishers. For this reason, it’s important to be armed with
the facts as you begin to plan and implement your new venture. That’s
where this guide comes in!
We’re aware that there are many books on the market about “selfpublishing”, each with a very definite point of view about just what
self-publishing means and exactly how it should and shouldn’t be
done. Many of them are excellent resources, and there is a wealth
of wonderful information to be gained from the experiences of their
authors. You’ll find a few of the best mentioned in this guide. However,
if you’ve already done some research on self-publishing, you’ve
probably also realized that there is a lot of contradictory advice out
there. Remember, none of these folks have your exact goals, needs,
budget, personal taste, skills, or knowledge base, and vice versa.
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So, while we conducted interviews with many experts in the field
who generously shared their wisdom -- from independent publishers
to literary agents, publishing services providers, publishing coaches,
and book marketing professionals -- it is the goal of this guide not
to prescribe which one way is best, but rather to provide you with a
clear roadmap of your options as you begin this journey. We’ll discuss
the pros and cons of each so that you can avoid the pitfalls along the
way and make the most informed decisions about what works for
your unique situation. You will also gain an understanding of how
to leverage your skills and experience to tap into a niche market,
how to develop new skills to make your books more marketable and
competitive, and where to find the resources you need to help you grow
your business.
In this chapter, we’ll begin with a brief overview of the publishing
industry, including traditional publishing, independent publishing, and
self-publishing. We’ll also examine how current trends, including the
increasing demand for e-books, are changing the face of the industry at
a pace that would make anyone’s head spin. This chapter also includes
a look at some of the potential rewards you can expect as a book
publisher. So let’s get started!
1.1 The Book Publishing Business
1.1.1 What Is Independent Publishing?
If you’ve already begun doing research on the publishing industry,
you may be confused by the differing ways in which you’ve seen
certain terminology used – “self-publishing” for example, or “print-ondemand (POD) publishing”. Before we go any further, let’s bring some
clarity to these important definitions as they will be used throughout
this guide.
Self-Publishing
Highly respected publishing professional and President of the
Independent Book Publishers Association, the leading professional
organization for self-publishers and indie publishers, Florrie Binford
Kichler, offers the following definition of self-publishing:
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“A self-publisher is one who establishes his or her own company in order to
create, distribute, market and sell a book that he or she has authored.
A true self publisher follows all the business precepts of publishing
including maintaining professional standards in editorial, production,
finance, marketing, sales and promotion.”
—
Florrie Binford Kichler,
President, IBPA and Publisher, Patria Press
This is one point on which the experts all largely agree – the key factor
here is creating your own company. While you needn’t handle every
aspect of the business yourself -- in fact, most experts advise against
attempting this -- you maintain ownership of the rights to your selfcreated or acquired material, and ISBNs belong to you as the publisher
of record. ISBNs are explained in greater detail in chapter 4, but in
short, this is a unique and internationally recognized identifying
number assigned to all books.
Subsidy Publishing, Vanity Publishing,
and Print-On-Demand (POD)
Much of the confusion lies in the widespread use of the term “selfpublishing” as a synonym for “vanity publishing” or “subsidy
publishing,” which it is not. This confusion is generated both by
companies offering author services and by some of the mainstream
media. Many companies, such as Xlibris, iUniverse, and Trafford offer
“self-publishing services” or “author services” or “POD publishing”
(not to be confused with POD printing, which we’ll look at in greater
detail in chapter 4). In reality, these are all terms used for subsidy
publishers that enable authors to see their work in print for a price.
These companies offer a range of editorial and design services – a onestop-shop of sorts. However, marketing prospects for these titles are
slim and most of the books end up being purchased by the authors and
their family and friends.
In some cases, this may be a perfectly viable option. There’s nothing
inherently wrong with these services and many, such as Lulu and
CreateSpace, offer good value for what they provide. It is simply a
case of caveat emptor. We will examine this option in more detail in
section 3.1 for those readers who may want to publish only a single title
with limited reach – something to preserve for friends and family, for
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example. However, the majority of this book focuses on how to start
your own book publishing company.
Independent Publishing
Independent publishing shares many commonalities with selfpublishing, but Tina Jordan, Vice President of the Association of
American Publishers, the national trade association of the U.S. book
publishing industry, offers this distinction:
“Self-publishing is typically defined by a singular author publishing
their own title or titles, with the assistance of organizations which
provide publishing services. Independent publishing is more typically
defined by an independently-owned company publishing multiple
titles from multiple authors with an existing infrastructure of services
inclusive of editorial, sales, distribution, marketing, publicity.”
—
Tina Jordan, Vice President,
Association of American Publishers (AAP)
An independent publisher is more likely than a self-publisher to
maintain office space outside of the home and a permanent staff, albeit
typically a small one, as they are usually juggling the publication
of more than one book and author at a time. Self-publishers tend to
be more of a one-woman or one-man show, recruiting the help of
freelancers to keep costs down and most likely working out of a home
office.
Indies versus “The Big Six”
The major players in book publishing today are referred to in the
industry as “The Big Six”. These are the large, mainstream publishing
conglomerates with a long history in traditional publishing and many
smaller divisions and imprints under their umbrellas. The larger
publishing houses of course have larger budgets, but also tend to be
less willing to take risks on untried authors or non-mainstream content.
They are far less likely to accept unagented and unsolicited manuscript
submissions.
The current Big Six are:
• Hachette Book Group (formerly Warner Books)
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• HarperCollins
• Macmillan
• Penguin Group
• Random House
• Simon & Schuster
Independent (or “indie”) publishers tend to focus on a specific niche
market that may be overlooked by the larger mass market companies,
just as self-publishers do. By virtue of the smaller scale on which
independent publishers function, they are able to provide more
individual attention to lesser known authors and tend to be more open
to non-traditional content and new authors.
Historically, independent publishers have made up a relatively small
percentage of the book market. Today, however, with readers’ increased
interest in a diversity of niche topics and embracing of new formats and
technology that allow greater access to the marketplace, independent
publishing has surged in popularity.
Most of the information in this guide will be relevant to those interested
in starting a small independent press, as well as authors interested
in starting their own company to self-publish their work. Chapter 4
includes a section on working with authors and literary agents, as
well as other sources of material for publication for those would-be
publishers who are not writers and wish to publish works by others.
1.1.2 Industry Trends and Statistics
R.R. Bowker, producer of Books In Print (a subscription service used by
many libraries as well as booksellers) monitors publishers and collects
statistics. In a 2015 ‘state of the industry’ report published at Bowker.
com, they report that self-publishing grew by over 21% just from 2014
to 2015! And reported current trends as follows:
• More writers taking advantage of traditional publishing houses
and self-publishing
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• Libraries and booksellers seeking opportunities to offer more self-
published content
• The number of self-published authors topping prominent best-
seller lists is on the rise
According to statistics compiled by the Association of American
Publishers (AAP), book sales in the U.S. were estimated at $27.78 billion
in 2015. This figure represents 2.71 billion units, comprising all types of
books: hardback, paperback, audio, and e-books. E-books peaked in
2013 with sales of $3.24 billion; in 2015, sales were $2.84 billion.
Despite the continued dominance of The Big Six, new publishers
continue to join the ranks in growing numbers. Estimates vary, but
according to ISBN data, there are probably at least 100,000 publishing
companies in the United States alone.
The E-book Market
According to AAP, e-book sales have plateaued, but other industry
analysts are more cheerful on the topic. From NPR’s late 2015 interview:
The big picture that they [traditional industry sources such as
AAP] present is based on the sales of essentially 1,200 publishers
only. And the assumption in traditional circles is that, well, that
must surely represent the vast majority of book sales - 85 percent,
90 percent. And in the print world, that’s definitely true…But
that’s not true for e-books especially self-published e-books, most
of which are sold by Amazon. And Amazon does not report sales
figures...According to Author Earnings, the e-book market is
thriving, but traditional publishers’ share of it has slipped to about
one-third.
According to Pew Research, the percentage of U.S. adults who’ve read
a print book in the last year has declined moderately in the last five
years, from 71% in 2011 to 65% in 2016, while the percentage who’ve
read an e-book has increased from 17% in 2011 to 28% in 2016.
In every case—whether you’re looking at the number of publishers
(and lowered barriers to entry into publishing) or the dollar amount of
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sales or the format of delivery—there’s plenty of room in the publishing
industry for more players and more reading!
1.2 Benefits of Being a Book Publisher
Whether you’re seeking a new full-time career as an independent book
publisher or just looking for a part-time venture as an outlet to get your
writing into the marketplace, starting your own publishing company
has many potential benefits.
Making a Positive Impact on Others
Many self-publishers and independent book publishers are drawn to
the industry because they have a mission – a sincere desire to use their
life experiences, knowledge, and/or career skills and expertise to help
others with informative nonfiction works; or a knack for producing or
finding the kind of writing that can touch others in some way, entertain,
or provoke thought and conversation about an issue. Most successful
indie publishers and self-publishers choose a very specific niche area
that has some personal meaning to them.
The ability to get your message out in book form, whether through your
own writing or working with authors who share your vision, allows
you to reach a large audience and make a difference in the quality of
their day to day lives through your books. Think about books you’ve
read that have made a real difference to you – whether it was teaching
you a computer skill that helped you land a new job, or just providing
a laugh after a tough day. Books contribute a great deal to people’s lives
and to the world, and being a publisher allows you to be a part of that.
In addition, if you’re publishing the work of other new authors, you
have the ability to make a very direct impact on their lives, helping
to make their creative vision a reality and perhaps making someone’s
lifelong dream of seeing their work in print come true.
Independent publisher Kimberly Debus of Mélange Press, which
publishes both fiction and nonfiction, counts seeing the look on a
new author’s face upon handing them their first freshly printed book
as among the most rewarding aspects of what she does. “It is at that
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moment that the ‘watch this space’ sign comes off the billboard, as it
were, and the book has entered the world,” Debus explains.
Creating a Lasting Legacy
“The closest comparison I can give for the feeling I get when I first
receive a title from the printer is the joy of seeing a child born. After
months of gestation, your creation has come into the world.”
—
Leland F. Raymond,
Publisher, CyPress Publications
Seeing your books on the shelves of your local library, in bookstores,
or on websites like Amazon can be quite a thrill. But publishing a book
can also be a way to leave an imprint on the world and potentially reach
future generations as well. Creating something tangible like a book
enables you to preserve something that represents who you are and
what you care about to the world.
Creativity and Independence
The creative freedom to choose the types of books you publish,
to manage both the content and the design, and to collaborate with
talented and interesting people who take pride in the work they do
provides an opportunity for the independent and creative-minded
entrepreneur to shine. This type of business also offers the flexibility to
create a schedule that fits your lifestyle. The ability to maintain control
and independence – over your business and the type of work you
publish -- is what attracts many people to the idea of publishing their
own books.
Book publishers may choose to work independently and retain
complete creative and financial control over their final product, or
may choose to hire a trusted staff or team of freelance professionals
and experts to handle areas along the way where they lack expertise.
There are also many associations and consortiums that help small
publishers compete with larger companies by providing education,
services, and a cooperative approach to marketing.
As a publisher, you also have the freedom to choose a niche in which
you have a particular interest. You can use the connections and
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knowledge you already have, or use the opportunity to learn about a
new subject you’ve always had an interest in. The options are unlimited.
Challenge and Variety
“Running a book business, like any business, takes commitment,
smart business sense, and the ability to understand what cultural,
education and entertainment-driven content will inspire new and
existing readers. And of course a little bit of luck, or magic dust is
always helpful.”
—
Tina Jordan, Vice President,
Association of American Publishers (AAP)
Running a book publishing company provides the opportunity for
an ongoing education. Because publishers may be required to wear
many different hats at different times, from marketing and PR pro,
to budgeting whiz, and creative artist, and because the publishing
industry is evolving with the speed of light as new technologies are
incorporated, keeping up to date on emerging trends and constantly
updating skills is important. Attending professional conferences and
trade shows, taking continuing education courses, and networking
with other publishing professionals are all part of keeping your skills
sharp and staying connected.
While there is a lot to learn along the way, author and publisher David
Hooper warns that new publishers shouldn’t let themselves become
overwhelmed by the challenges or let the perfect become the enemy of
the good:
“Do it. Get your stuff out there and make an impact on people. Don’t
worry about it being perfect. Write it, bring in a pro to edit it, and put
it out. It can be polished, but it’s never perfect.”
—
David Hooper,
MusicMarketing.com
In terms of running your own business, there is the added task of
keeping up with new marketing techniques and getting the word out
about your titles, as well as interacting with distributors, authors, the
media, and customers. For those who are easily bored with the same
old day to day routine, being an independent book publisher offers a
continued opportunity for learning and variety.
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Income Potential
In addition to having more creative freedom than you would if you
published your work through a traditional publishing house, you’ll also
keep a greater percentage of the financial rewards as publisher. Authors
working with a traditional publisher might expect to receive royalties
of about 6 to 15%, depending on the type of book (hardcover, trade
paperback, etc.), with 7.5 to 8% being about average for a paperback.
Subsidy publishers will also take a significant chunk of your profits, in
addition to the upfront fees.
Publishing is no get rich quick venture, and you probably won’t
make a mint on your first title. But while wholesalers, distributors,
and retail outlets may require a significant discount in order to carry
your independently published books, you can still come out ahead by
utilizing effective and economical marketing techniques and knowing
where your budget is best spent for maximum impact.
Flexible Start-Up Costs
Print runs, hiring freelancers, distributors, and launching marketing
campaigns; let’s face it -- it can be a potentially expensive and risky
proposition to start a book publishing company. While it’s important
to go into this business knowing you’ll need to have a budget to spend
in order to make a real go of it, there is also plenty of opportunity for
cost savings.
The good news is that publishing offers a great deal of flexibility in
terms of start-up costs – there are many tasks you can do yourself in
order to save money. Publishing e-books and POD printing can also
save you some money up front and on inventory storage costs. Working
with a professional association to market your books collaboratively
can provide additional cost savings, as can working from a home office.
1.3 Inside This Guide
The IAP Career College Guide to Become a Book Publisher will take you
step-by-step through the process of publishing a book, whether you’re
interested in publishing your own writing or the work of others. The
guide is arranged as follows:
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Chapter 2, Getting Ready, will help you discover the many opportunities,
both formal and informal, that exist for learning and practicing the
skills you’ll need to be a successful book publisher, from writing to
business skills. This chapter covers suggested areas of study for those
interested in pursuing a college or university degree or certificate
program in publishing, how to learn from other publishers, and lots of
free resources to help you learn at your own pace.
Once you understand the basic skills you’ll need to develop, Chapter 3,
Starting Your Publishing Business, explains the importance of choosing a
niche and how to choose the right one for you. You’ll also find practical
business plan resources and suggestions on how to find financing,
as well as information on the key legal points to consider as a new
publisher and business owner.
Being a successful publisher doesn’t necessarily mean doing everything
yourself. Chapter 4, The Publication Process, will provide you with
information on where to find material if you’re not a writer, and how to
hire the right people to help you produce your books. This chapter also
covers how to register and protect your material, and examines your
various printing options. We’ll also help clear up some of the confusion
about POD, and discuss the pros and cons of e-books.
Starting a new business venture can be exciting, but the financial aspects
can also be intimidating, especially for the more creatively inclined.
Chapter 5, Business Operations and Finances, will provide you with
guidelines for pricing and selling your books, including selling online
through your own website, through online retailers like Amazon, and
how to get your books into brick-and-mortar bookstores. Once you’re
selling your books, you’ll need to know how to handle your finances, so
we’ll cover the basics of financial management as well, including basic
bookkeeping and Title P & Ls.
You don’t need a degree in marketing or a big publicity budget to create
a buzz about your books. Chapter 6, Marketing Your Books, offers lots of
ideas on how to reach out to the target market you identified in Chapter
2. There are many free and low cost options for designing and hosting
your web site, and writing and distributing press releases – this chapter
will show you where to find them. Chapter 6 will also offer some tips
on how to make the most of book signings and trade shows, and help
take the anxiety out of networking.
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Each chapter also contains relevant practical advice from the many
publishing experts, who generously shared their time and insights with
us, including small press owners, successful self-publishers, heads of
professional publishing associations, literary agents, and experienced
book marketing pros. You will learn what challenges and rewards you
can expect to face as you grow your business, and what steps you can
start taking today toward becoming a book publisher with the thriving
business of your dreams.
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2. Getting Ready
Even if you don’t have experience in the publishing field, the skills and
knowledge you’ll need to succeed as a book publisher can be learned.
In this chapter, we’ll begin by examining some of the important skills
you’ll need. You will discover how to enhance your existing skills, learn
where your strengths and weaknesses lie, and how to gain a wealth of
new abilities to help you reach your publishing goals.
2.1 Skills and Knowledge You Will Need
Publishers need to use a variety of skills to produce, sell, and distribute
quality, marketable books. The skills required will vary somewhat
depending on the type of publishing you plan on doing, whether you
plan on writing your own material, and what aspects of the business
you plan on sending out to freelancers. But no matter your goals or
skill level, a solid foundation in the basics will provide you with the
confidence you need to dive into the publishing pool. As you will read
in this chapter, the skills you need to succeed as an independent book
publisher may seem overwhelming at first, but they can be learned.
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If you already have relevant experience working with or for one of the
larger publishers either on staff or as a previously published author,
or working in another profession requiring writing, marketing, sales,
management, design, or computer skills, entering this career will
be even easier for you. So let’s take a look at the specific skills and
knowledge that can help you succeed in independent publishing:
• Writing and editorial skills
• Computer and technology skills
• Research skills
• Interpersonal skills
• Business skills
• Marketing skills
Later in this chapter you’ll find plenty of resources to help you develop
these skills through education and self-study.
2.1.1 Writing Skills
Marketing skills will only get you so far if you’re not starting with a
great book product. Yes, an attractive cover and prime spot on the shelf
at Barnes & Noble can help get you noticed, but if a potential customer
picks up your book, flips through the first few pages, and it doesn’t
“grab” them with great writing, you’ve just lost a reader -- and a book
sale. If you want people to read your work, you’ve got to give them
content that’s worth their investment of time and money.
Some people seem to have a natural gift with the written word. They
keep us spellbound with their storytelling, or laughing and crying
with their characters. Or maybe they take seemingly complex or dry
topics and make them entertaining and memorable. If this sounds like
you, congratulations – you can probably skip this section! If not, don’t
despair. You needn’t be Elizabeth Gilbert to craft a great read. But it will
take some work to hone your skills.
The type of writing skills you’ll need will depend on the type of
material you’re planning to publish, and your role in the process.
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Begin by assessing your current strengths and weaknesses. Have you
written in the style or genre before? If you’re writing fiction, do you
have an understanding of character development, story structure, and
how to create realistic dialogue?
If you’re writing nonfiction, what is your area of expertise or personal
experience with the subject matter? Do you have the ability to translate
this topic to your intended audience in a way that will be meaningful
to them?
If you’re looking to work with authors rather than publish your own
books, then you’ll need to polish those business writing skills. Things
like effective marketing copy for book jackets and advertising will
be essential, even for the more business-minded types who are less
interested in the creative side of publishing. You’ll also need to be
able to recognize good (and marketable) writing when that golden
manuscript comes across your desk.
If your creative writing skills are a little rusty, The Write-Brain Workbook:
366 Exercises to Liberate Your Writing by Bonnie Neubauer and
A Writer’s Workbook: Daily Exercises for the Writing Life by Caroline Sharp
are two great tools to help you go from just reading about writing to
actually practicing it. The books contain lots of thought-provoking
and challenging exercises, perfect for getting your feet wet or getting
your writing muscles back into shape. You will find many additional
resources for honing your writing skills throughout this chapter,
including formal writing courses, online workshops, and a list of books
and websites in the Resources for Self-Study section.
2.1.2 Computer and Technology Skills
Computer skills are important in just about every profession these days.
For a self-publisher or would-be small press owner, however, a comfort
level and facility with technology can provide a distinct advantage
and significant cost-savings as you begin your publishing venture.
A thorough understanding of database and financial management
software will allow you to take advantage of time-saving technology
that may help streamline your business operations. And the more techsavvy you are, the more control you can maintain over the creative
aspects of the publication process. Things like:
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Typesetting
For the imaginative writer used to leaving the practical printing side of
the business to others, this word may conjure images of wooden blocks,
Gutenberg, or ink-covered folks yelling “stop the presses”. These
days, fortunately, the process is a little more high tech -- think “interior
design” of the book, including things like font and placement of images.
It may sound simple, but good typesetting is an art form. While you’ll
probably never remark “hey, what a wonderful typesetting job!” as you
sit down with your Harry Potter novel, if it weren’t done properly, you’d
notice.
Cover Design
We’ll skip the obvious quip about covers and judgments here, but yes,
it is one of the most important elements in determining whether or not
someone picks up your book, and whether they decide to purchase it.
You’ve only got about 10 seconds at most to capture a reader’s attention
with your design and make them want to read more. You may have a
masterpiece of a novel on your hands, but if people aren’t tempted to
pick it up off the shelf by the cover art and style, a great piece of writing
may go unnoticed.
Software Knowledge
Of course no one is an expert in every software program, but a solid
grounding in the fundamentals is a good place to start. This includes
knowledge of:
• Word Processing (e.g. Microsoft Word)
• Spreadsheets and databases (e.g. Excel, Access)
• E-mail programs (e.g. Microsoft Outlook)
• Bookkeeping software (e.g. QuickBooks)
• Adobe Acrobat (Standard or Professional)
If you plan on doing some of the production work yourself, such as the
aforementioned cover design and typesetting, it might also benefit you
to consider learning:
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• Adobe InDesign
• Adobe Photoshop
• QuarkXpress
• Microsoft Publisher
There is no arguing that good book design, including the interior as
well as the cover, is an art form unto itself and a professional can take
this to another level for you. If you do decide you’re up for tackling
the typesetting yourself but aren’t interested in investing in a costly
program like InDesign just yet, one compromise to consider learning is
TeX. This is one of the most widely used typesetting freeware programs
and it can be used to achieve professional-looking results. You can learn
more and download it free here: http://miktex.org.
Knowledge of Online Media
There’s no denying the growing impact of social media and blogs on
the publishing industry. A working knowledge of popular sites such
as Facebook, Twitter, and LinkedIn, and how to use them to reach
your book’s target audience can provide an enormous benefit for small
publishers with small budgets. More information on internet marketing
is presented in chapter 6.
If you want to brush up on your computer skills or increase your
knowledge base by learning new software tools, one of the most
comprehensive and highly recommended resources around is Lynda.
com. This user-friendly, subscription-based online library currently
contains over 42,000 video tutorials by expert trainers. You can learn
everything from Access and WordPerfect to SQL, Dreamweaver, and
more specialized and complex software as well. For $25 per month,
far less than most individual online training programs, you can take
as many tutorials as you like. Discounted annual plans are available
as well. See www.lynda.com for more information. Other similar sites
include www.udemy.com and www.coursera.org.
2.1.3 Research Skills
No one has all the answers. But a good writer and savvy independent
publisher knows where to find them. If you are planning on writing
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and publishing your own material, nonfiction or even fiction that
contains elements outside the realm of your own personal experience,
good research skills are essential in creating, producing, and marketing
your books. Even if you’re planning to acquire manuscripts from
other authors, you’ll need top notch research skills to keep up with
new publishing and marketing trends to be a successful publishing
entrepreneur.
The Internet puts an enormous amount of resources at our fingertips.
It’s fast and convenient. However, it can also be overwhelming to sort
through all the information and determine the legitimacy and value of
sources. For all of the useful information on the Internet, there is at least
an equal amount of misinformation. Evaluating web resources requires
a keen eye, critical thinking skills, strategy, and above all, common
sense. A few questions to ask yourself in evaluating a web source are:
• Who is the intended audience?
• Who is sponsoring the web site? Is it a government agency or
reputable organization? Is the main purpose of the site to sell
something?
• If there are statistics listed, are they current and can they be
verified through another source?
• Does the information seem biased?
• Is the information well organized and the site easy to navigate?
The University of California, Berkeley library’s website offers some
additional useful advice on evaluating web sources. This information
can be found at http://guides.lib.berkeley.edu/evaluating-resources.
Don’t forget, however, that the Internet is not the only source of
information out there. Reference librarians at your local library
are always happy to assist you in finding information and can be a
wonderful resource for you in many capacities as you begin your
publishing journey. In fact, give them a question that really tests their
“mental database” of books and publishing and you’ll likely make their
day!
Good research skills are required in many different careers, so you
may have already developed some techniques that work for you, and
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some favorite web sites that you have found reliable. If not, you are
beginning to hone your research skills now as you explore a potential
new occupation as a publisher.
If you need to brush up on your basic searching skills or want to learn
more advanced search techniques, The Extreme Searcher’s Internet
Handbook: A Guide for the Serious Searcher by Randolph Hock, and
Mastering Online Research: A Comprehensive Guide to Effective and Efficient
Search Strategies, by Maura Shaw are two excellent books on the subject.
2.1.4 Interpersonal Skills
As an independent publisher, you will not only need to have
organizational and marketing skills, but you will also need to work
effectively with many people including your customers, employees,
contractors, suppliers, and everyone else you do business with. As a
result, your interpersonal skills (i.e. your skills in dealing with other
people) will be one of the key factors in ensuring that you are successful
in this business.
Following are some key interpersonal skills and why they can be so
helpful to you in the publishing profession.
Listening
While listening seems like an easy skill to master, most of us experience
challenges in at least one of the following areas involved in listening:
paying attention, understanding, and remembering. You can become a
better listener by focusing fully on someone when they are speaking.
Here are some ways to do that:
• Don’t interrupt the other person. Hear them out.
• Keep listening to the other person, even if you think you know
what they will say next. If you make assumptions, you may miss
the point they’re making.
• Ask questions in order to clarify what the other person has said.
Take notes if necessary.
• Don’t be distracted by outside interference. Loud noises, the other
person mispronouncing a word, or even an uncomfortable room
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temperature can break your concentration and distract you from
the conversation.
• Give feedback to the other person. Nod occasionally; say things
like “I see,” and smile, if appropriate. Let them know you’re
listening.
• Use paraphrasing. In other words, repeat back in your own words
your understanding of what the other person has said. It can help
alleviate misunderstandings later on.
If this is a skill you want to improve, there are numerous books on the
subject of honing your listening skills and one of the best is Listening:
The Forgotten Skill: A Self-Teaching Guide, by Madelyn Burley-Allen.
Helpful free advice is available online at www.businesslistening.com.
Verbal Skills
Clear communication is essential because you will need to explain your
store’s sales or return policy, and you will need to describe to customers
your current inventory. When making sales, customers can become
frustrated if they find it difficult to understand what you’re saying.
To improve your verbal communication skills, ask friends or a vocal
coach for feedback on any areas that could be improved, such as: use of
slang, proper grammar, or altering your tone of voice to eliminate any
harshness. An inexpensive digital voice recorder (available from any
office supply store; for example see www.staples.com/Voice-Recorders/
cat_CL140515) will allow you to find out how you sound to others.
Reading Non-Verbal Messages
In addition to hearing what people say, a skilled business owner also
notices non-verbal communication (tone of voice, facial expression,
body language, etc.). These signals can give you valuable clues about
what the other person is thinking.
For example, did a customer fold their arms when you made a particular
suggestion? If so, they may be communicating that they disagree, even
if they don’t actually say so. Although body language can’t tell you
precisely what someone is thinking, it can give you clues so you can ask
follow-up questions, even as basic as “How do you feel about that?”
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If you want to improve this skill, you can find some excellent advice
in the book Reading People, by Jo-Ellan Dimitrius and Wendy Patrick
Mazzarella.
2.1.5 Business Skills
If you are well prepared for being a business owner, the better the
chances are that your venture will be a success. It’s crucial to know
where your business stands financially at all times. While you don’t
have to learn it all, staying on top of your accounting will help you
avoid finding yourself in the awful position of being out of cash to pay
your bills or replenish your inventory.
Earning a degree, diploma, or certificate in business can be helpful in
running your own business. However, a formal business education is
not necessary to run a publishing business. There are many successful
business owners who are self-taught and have never studied business.
Others have taken a course here and there but do not possess a degree.
However, the skills you learn in business classes can come in handy.
Running a successful independent publishing operation requires an
overlap of a variety of business skills. Aside from a knowledge and
expertise about the books you sell (and training employees to be
knowledgeable as well), you will need to know about:
• Business planning
• Financial management
• Merchandising
• Operations management
• Inventory management
• Hiring and supervising employees and freelance contractors
• Marketing and sales
TIP:
Your local college or university may offer these and other
business courses. If you are not interested in attending
courses at a school, or you don’t have the time, another
option that can easily fit into your schedule is distance
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learning. Traditionally these were called correspondence
courses and the lessons were mailed back and forth
between student and instructor. Today, with the help of
the Internet, there are many online courses available.
To help make sure you are dealing with a reputable school,
be sure to check their accreditation status with reputable
accreditors such as the Distance Education Accrediting
Commission (DEAC; formerly Distance Education and
Training Council) at www.deac.org. Avoid diploma mills
and bogus accreditation agencies; see https://en.wikipedia.
org/wiki/List_of_unrecognized_higher_education_
accreditation_organizations for helpful information.
The more you can keep your expenses down while building a solid
customer base to build sales volume, while at the same time turning over
inventory frequently, the more financially successful your publishing
venture will be. For some of these tasks, it will make financial or practical
sense to hire employees or contractors to help you, such as editing or
proofreading. There are also existing self-publishing companies that
provide an array of services for the creatively inclined who want to see
their work in print with minimal oversight of the operational details, and
distribution companies that will handle your inventory management
and order fulfillment. These options will be discussed in chapters 3 and 5
respectively. Keep in mind, though, that in general, the fewer people you
need to hire to help you manage your business, the lower your overall
costs of running the business. Developing business skills takes time, so
be thorough, and don’t be in such a rush that you neglect to fill in any
gaps in your knowledge or skills.
“As far as the day-to-day operations of the business, I think any sales
and marketing experience helps. Just because you wrote something
doesn’t mean people will be interested. It helps to understand what
makes people buy and what people want. When you do, you’ll sell a lot
more books and make a lot more money.”
—
David Hooper, Author, Publisher, and Marketing Expert,
MusicMarketing.com
Experience you have in retail or marketing, even in non-publishing
capacities, can be helpful, and there are a number of ways you can
develop your skills and knowledge in all of these areas. In this chapter,
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you’ll find specific ideas to help you increase your experience and
knowledge of running a publishing business. You’ll also find detailed
advice throughout the remaining sections of this guide.
You will probably find reading the entire guide before you launch your
business helpful, but you can quickly identify particular areas you
may want to focus on by reviewing the table of contents. For example,
section 5.4 provides advice on financial management, covering
everything from budgeting to bookkeeping to building wealth, and
section 3.4.2 gives you advice about start-up financial planning. Even
though marketing is covered in the last chapter, you’ll want to start
considering your marketing plan early on in the process. Distribution
arrangements, covered in section 5.3, should also be made prior to your
book’s publication. All of these sections provide website links to online
resources to help you find further help in these areas.
One tool for helping you to focus on what business skills are involved in
being a business owner is business planning. Section 3.4 looks in detail
at how to develop a business plan to get your business up and running
by outlining and clarifying what products you will offer, deciding how
you will finance your business, creating a market plan, etc. In addition
to addressing these important business issues, a business plan will also
help you to understand some of the other basic “hard” skills required of
a business owner, such as marketing and accounting skills.
Resources
SBA
The Small Business Administration (SBA) is a leading U.S. government
resource for information about licensing, taxes, and starting a small
business. You can find a range of resources including information on
financing your new business, business plans and much more at www.
sba.gov.
SCORE
The Service Corps of Retired Executives (SCORE) is an organization of
U.S. volunteers who donate their time and expertise to new business
owners. You can find information on taxes, tips for starting your
business, or even find a mentor who will coach you and help you
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maximize your chances of succeeding as a new business owner. Visit
them at www.score.org.
Canada Business Services for Entrepreneurs
This Canadian government website offers information on legislation,
taxes, incorporation, and other issues of interest to Canadian business
owners or those who do business in Canada. For more information and
a list of services they offer visit their website at http://canadabusiness.
ca.
2.2 Learning by Doing
Launching and building a successful publishing business will require
that you wear many hats. Even if you decide to hire freelancers or staff
to fill some of the essential roles you’re less interested or skilled in,
you’re still likely to find yourself juggling many diverse tasks. While
studying on your own and taking courses can provide you with the
proper foundation knowledge necessary to understand the publishing
world, working directly in an environment where you can utilize the
skills you plan to use in your business can provide an equally important
component of your publishing education.
People from diverse employment backgrounds are also discovering
that their unique experience and perspectives in their areas of
personal or professional interest may actually give them an edge in
developing unique material for publication. It may also add to an
author’s reputation as an “expert” in a chosen niche, which will help
enormously when it comes to book marketing. This section provides
a variety of ideas and resources to help you build your experience,
develop your knowledge by doing, and add to your credentials.
2.2.1 Work in a Bookstore
This can be a valuable way to learn much-needed customer service
and sales skills while gaining first-hand experience with what types
of books sell and why (for example, how much do things like book
placement and covert art impact sales? Does the store stock works by
independent publishers? How are these books treated in comparison?
What makes a successful in-store author appearance or book signing?).
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Working for a time in a bookstore will give you valuable insight into
pricing merchandise, what sells (and, equally important, what doesn’t),
how to deal with customers, how to arrange merchandise to its best
advantage so that it looks attractive to buyers, and exactly what it
takes to keep a store running smoothly on a day-to-day basis. This
knowledge can help give you a sense of what book retailers are looking
for when selecting inventory and, depending on the connections you
make, might even give you an edge in getting your published works a
shot at shelf space down the road.
First decide if you’re more interested in targeting the large superstore
chains like Barnes & Noble (http://stores.barnesandnoble.com) or
Books A Million (www.booksamillion.com/storefinder), or small
independently run bookstores. The larger stores will likely have a
more diverse inventory and broader customer base, but don’t overlook
small indie bookstores. They can provide an advantage in terms of
opportunities to get to know the owner and learn about the ins and outs
of the business, and may be more willing to take a chance in stocking
your books once published. The American Booksellers Association
website provides an indie bookstore search that allows you to enter
your zip code and find independent booksellers near you: www.
indiebound.org/indie-bookstore-finder.
Visit the store you’d like to work in as a customer whenever possible
before applying for a job so you can get to know the owner or manager
(and the store) a little. Remember, it will help if the owner recognizes
you because you have been there before. Never phone or write a letter;
face to face works much better.
Here are some suggestions for introducing yourself and what you can
do for a prospective employer:
• Explain that you are interested in learning about retail book selling.
• Tell them if you’ve had any previous selling experience (whether
it’s shoes or ice cream).
• Think of some extra service you could offer, such as creating
window displays or offering your computer expertise.
• If no job is available and you really love the store and want to
work there, volunteer to work for free. Small indie bookstores
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with a specialized niche market would be good candidates for
volunteering since they probably won’t have the budget of a
larger chain store. You are also more likely to be able to talk to the
owner who sets the hiring rules. It could pay in the long run.
Finally, when applying for a job in a bookstore ensure that your
demeanor, personality and dress reflect the qualities that you would be
looking for in an employee. These characteristics are outlined in more
detail in section 4.2 (“Hiring Staff and Freelancers”).
2.2.2 Publishing Internships
An internship is a short-term, entry-level position that gives you handson work experience. As an intern you would go to work for a company
at regularly scheduled times (although you might work as few as eight
hours per week) and carry out tasks assigned by your supervisor. The
main difference between an internship and a regular job is that most
interns are not paid. Some internships may include a small stipend to
help cover things like travel expenses, but certainly not enough for the
average person to quit their day job.
Although you will likely be volunteering your services to a company,
you get practical work experience that can be very helpful once you
start your own publishing business. As an intern you can also make
valuable industry contacts, learn the intricacies of the publishing world,
and build your credentials. You can offer your services for as little as a
week; however, you will have the opportunity to learn more if you can
arrange a longer internship.
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Interns Over 40
Even if you are not a student or recent grad, the current economic
climate has created an increase in career-changers of all ages who
recognize the potential value of an internship. It has become far
more common in recent years to find interns in their 40’s, and
even 50’s, looking to start over in a new field and learning the
ropes from the ground up.
While accepting such a position may represent a bit of a blow
to the ego for this segment of the population, particularly for
those coming from a successful high paying career in another
field and used to calling the shots, it’s all in your perspective—
and the rewards can be worth it. In her article for the Huffington
Post entitled “Executive Interns—Reinventing Yourself After 40,”
entrepreneur and former intern for New York City’s NPR station,
WNYC, Linda Franklin discusses some of the unique challenges
and benefits of being an intern over 40: www.huffingtonpost.
com/linda-franklin/executive-interns----rein_b_180830.html.
If you’re a part of this growing segment of the population and are
intrigued by the idea of an internship, check out the Interns Over
40 blog at http://internsover40.blogspot.com and a Today Show
video at http://today.msnbc.msn.com/id/29789616 for more
information and inspiration.
Many college and university career services offices also provide
free or low-cost assistance for alumni, so investigate what
your alma mater has to offer in terms of help with securing an
internship.
Finding an Internship
If you are currently enrolled at a college or university, your educational
institution may arrange internships programs for students. (These may
also be called “work-study” or “co-op” programs.) Begin by checking
with your school’s career services office for guidance. A counselor
can help you with your internship search, and your school may even
sponsor an internship fair.
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Online you may be able to find publishing internships posted at the
websites of the major publishing houses (see chapter 1 for a list of The
Big Six), major career sites such as CareerBuilder.com and Monster.com,
and sites specifically for internship programs. Here are some of the top
sites where you can begin your publishing internship search:
• Bookjobs.com
www.bookjobs.com/search-internships
• Mediabistro.com
www.mediabistro.com/joblistings
• MonsterTRAK
www.monster.com/jobs/q-summer-internships-jobs.aspx
• Career Rookie
www.careerrookie.com
• Internweb.com
www.internweb.com
• InternshipPrograms.com
www.internshipprograms.com
Another option, particularly if you are not a student, is to set up your
own internship. First decide which companies you would like to work
with. Then start calling. If it’s a large company, you can ask their human
resources department if they have an internship program. If they do
have such a program they will tell you how to apply.
If you want to work with a small company, ask to speak with one of the
owners. Ask the receptionist, or look the company up on the Internet
first, to find out the owner’s name. Whether you get through to the
owner, or speak with someone else in the company, explain that you
would like to volunteer your services as an intern.
While you might think any company would jump at the chance for
free labor, some companies are so busy the owner may feel they don’t
have time to train an intern. So be prepared to sell yourself, using your
interpersonal communication skills. Explain why you will bring value
to the company.
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One thing that most companies need is help doing the tasks that no
one else wants to do. If you are willing to answer telephones, make
photocopies, run errands, do the filing – in other words, if you are
willing to do “whatever it takes” to help them out – say so.
If someone is interested in having you intern for them, they will ask
you to come in for an interview and may ask to see your resume
and portfolio. In many ways, applying for an internship is similar to
applying for a job.
Making the Most of an Internship
Once you have an internship, do a first-class job with every task you are
given, even the menial tasks. Everyone “pays their dues” when they are
starting a new career, and those who do it with a positive attitude can
make a great impression.
Look for any opportunities to get actual book marketing or editorial
experience or attend events, such as trade shows—even if it means
working a few more hours than you originally agreed to. Volunteer to
help out whenever you can. Be someone who does such a great job that
you will be missed when the internship is over.
Here are some other tips for making the most of your internship:
• Don’t forget to ask questions. If you are unsure about a task
you have to complete, or even if you’re just curious about some
aspect of the publishing business, ask your supervisor. It’s their
job to supervise you, but they can also be a valuable source of
information, as well.
• Work on what interests you. If a project comes up that you would
like to work on, ask your supervisor if you can get involved.
• Get organized. Keep records of your work. Consider starting
a journal of your internship activities, and try to document
every project you work on for your portfolio. Keeping track of
everything you’ve learned can help you when you start your own
publishing venture.
• Set up evaluation sessions with your supervisor. This gives you a
chance to ask about projects or assignments and get feedback on
your performance.
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• Learn what the other employees in the company are responsible
for. This will give you an idea of other types of jobs in the
publishing industry.
• Attend professional association meetings. Your company likely
belongs to at least one; ask your supervisor about attending a
meeting.
• Keep a list of networking contacts.
At the end of the internship, ask your supervisor for a written letter of
reference. If you have done exceptional work, you may even get a job
offer from the company you interned for.
2.3 Learn From Other Publishers
One of the best ways to learn about the publishing industry is by
speaking with people who are currently doing the type of work you
are interested in doing. In this section you will find a variety of ways to
connect with people in the publishing field.
2.3.1 Information Interviews
Information interviews are another effective way to learn about
publishing. An information interview is defined as a brief meeting
with someone who is working in a career you are interested in learning
about.
Ask your network of contacts if they know anyone who works in the
publishing industry. This might include people who have successfully
started their own small press or self-published their own books. You
may also want to consider expanding your information interviews
to other professionals in larger publishing houses who can provide
perspectives on the many areas involved in book production—
especially valuable information may be obtained from anyone who
works in marketing or promotions. Think beyond those who do exactly
what you want to do. Remember, many people have input along
the way from manuscript to finished book product and all of their
feedback is potentially valuable. Meeting with agents, wholesalers, and
distributors can all add to your knowledge base. If possible, go beyond
getting a name and telephone number. Instead, ask the individual
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who personally knows the publishing professional to make the initial
contact, explain that you are learning about the publishing industry,
and see if you can call or e-mail them to ask a few questions.
If no one in your network knows anyone who works in publishing, you
can easily find many helpful publishing experts online who are willing
to provide information and answer questions for someone starting out.
You’ll find a list of online forums later in this chapter. Another good
place to begin is to join one of the many publishing-related groups on
LinkedIn (www.linkedin.com). You’ll need to begin by creating your
own LinkedIn profile if you haven’t done so already. Then just click on
“Groups Directory” and do a keyword search on “publishing”. You’ll
find over 1,000 groups so look for one that is open to new publishers
(and/or writers and authors if you have creative questions) and that
matches your chosen niche as closely as possible. The Authors, Writers,
Publishers, Editors, and Writing Professionals Group is one helpful
LinkedIn group with a very active discussion list that you can join. The
Ebooks, Ebook Readers, Digital Books and Digital Content Publishing
Group also provides a useful forum for those interested in electronic
publishing.
Another great source of information is your local library’s copy of
Literary Market Place, a weighty reference guide published annually by
Information Today, Inc. that includes over 12,000 listings with contact
information. This is an extremely useful reference, but purchasing your
own copy will currently run you approximately $300. If you have the
budget, you may want to invest in this as it’s probably something you’ll
refer to often. If the cost is prohibitive or you just need short-term access,
another less expensive option is an online subscription for $19.95 per
week. More information can be found here: www.literarymarketplace.
com.
Although you are conducting an “information interview,” it’s usually
best to avoid using that term when you first call. Many professionals
assume someone who wants to set up an information interview
is actually looking for a job, not simply looking to learn about the
profession. So they may decline to meet with you if they do not have
any current job openings.
Instead, say that you are studying the publishing industry and politely
ask if you can arrange to meet with them for 20 minutes to learn about
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the career. People are much more likely to agree to a meeting if they
know it won’t take too much time. Be prepared that the publishing
professional may not be available for a personal meeting but may be
willing to answer questions on the phone or by email. If they make such
an offer, take them up on it! If you’re sending an email, you’re more
likely to get a response if it is limited to only a few key questions.
It’s important to remember that while some people are generous with
their time and encouraging to newcomers, others may simply be too
busy to meet with everyone who wants career advice. People in this
profession are generally a friendly bunch and very willing to share their
knowledge and experience. Many of them have come to publishing
from a variety of different careers and educational backgrounds.
However, if someone you contact says they don’t have time for a
meeting, politely ask if they know anyone who might be available to
talk with you. If not, thank them for their time and move on.
If the person agrees to a personal or phone meeting, arrive (or call) on
time, dressed professionally, and come prepared with a list of questions.
Following are some questions you might ask:
• How did you get started in publishing?
• What professional experience did you have prior to starting your
business? (If the person runs their own company)
• What do you enjoy most about your work?
• What do you wish you had known when you were first getting
into publishing?
• What are some of your best marketing tools?
• Can you suggest any ways that I might utilize my experience in
(mention your employment background) finding a niche market?
• What is a typical day of work like for you?
• Based on a quick review of my experience to date, what training
or experience do you think I should pursue next?
• What has been the impact of new developments in technology on
your business?
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• What are some growing trends you see in the field?
• Who handles your printing / editing / distribution and are you
happy with them?
• What advice do you have for someone just getting started as a
publisher?
• Is there anyone else you can refer me to who might be willing to
meet with me?
• Which professional associations, websites, or publications should
I look into?
TIP:
While owners of small publishing businesses may be willing
to speak with you, be aware that some of them may not be
eager to help if you plan to start a competing business in the
same niche market. However, if you are going into a niche
they do not serve, they might be willing to answer questions
about their business such as which marketing techniques
they have found most effective.
If you want to make a good impression, it’s usually not a good idea to
stay longer than agreed without permission. Let the person know when
the 20 minute time limit is up, say you know they are busy, and offer to
leave. If they don’t have another appointment, they may be happy to
extend the meeting. Thank them for their time and any referrals they
were able to provide.
After the meeting, send a thank you note or e-mail to the person you
met with and, if someone referred you, thank that person as well.
Making a good impression in an information interview could lead to
future opportunities such as a mentoring relationship.
2.3.2 Join Associations
Professional Associations
You don’t need to wait until you are an established business owner
or experienced author or publisher to join a professional association.
In fact, you shouldn’t! Professional associations are one of the best
sources for learning, both through networking with other independent
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publishers and through varied educational offerings from free
newsletters to members-only programs and discounts on services.
Below we will take a look at a few professional associations you can
join as a beginning self-publisher or independent small publisher, and
the types of benefits you will receive. This is a great way to increase
your visibility and network with other small publishers, as well as
gain credibility, especially if you are relatively new to the field. There
are literally hundreds of professional publishing associations and
organizations aimed at specific niches and regions. You can find links
and descriptions for many of these groups here: www.bookmarket.
com/pubassn.htm.
The following associations are the most well-know among independent
publishers and were the most widely recommended by our experts. If
the above list seems too overwhelming right now, consider joining one
or more of the following to begin with, as your budget allows. The IBPA
in particular was almost universally recommended by those we spoke
with as a “must join” due to the myriad benefits for new publishers
and inclusive, supportive attitude. As fiction and nonfiction publisher
Kimberley Debus of indie Mélange Press put it, “They’ve all been there,
and everyone who belongs to the IBPA recognizes there is room for all
of us.”
Independent Book Publishers Association (IBPA)
Website:
www.ibpa-online.org
This is one of the leading professional organizations for independent
publishing professionals in the U.S., Canada, and abroad, including
self-publishers, print and electronic, with over 3,500 members. They
also offer the prestigious Benjamin Franklin Award (in 50+ categories;
see http://ibpabenjaminfranklinawards.com) annually for excellence
in small and independent publishing. Among the membership benefits:
monthly newsletter and bi-weekly e-newsletter filled with advice and
industry trends, access to marketing programs and book fair exhibits,
educational offerings (including their popular annual 2-day Publishing
University), and networking opportunities with regional affiliate
organizations. Also offers discounts on many publishing-related
services from marketing and publicity to distribution and fulfillment.
As of the writing of this guide, dues for U.S. and Canadian members
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are: $129 (publisher member with 1-9 employees); $189 (non-publisher
member with 1-9 employees).
Small Publishers, Artists and Writers Network (SPAWN)
Website:
www.spawn.org
Membership includes access to members-only market update
section of website, seminars and workshops (including pre-recorded
teleseminars available online) taught by industry professionals, access
to membership directory for networking, access to SPAWN table at
book fairs for display of your books (additional fee), and many other
resources. Members may choose to participate in the organization’s
discount group health insurance plan. Membership dues: $75 per year.
IAPO International Association of Professional
Book Publishers
IAPO International Association of Professional Book Publishers is a
membership organization created to provide education and business
development services for people working as, or studying to become, a
professional Book Publisher.
Benefits for Members
Numerous benefits including: discounts on the Book Publisher
Certificate Courses with IAP Career College; quarterly newsletter with
practical advice to help you achieve greater success in your career;
additional discounts on thousands of products and services for both
business and pleasure including: restaurants, hotels, computers, movie
tickets, books, flowers, cell phones, gifts and much more from popular
companies such as Target, Sears, Disney, FabJob, Toyota, Dell, Sprint,
and many more. Plus, you may display the seal of membership of the
IAPO International Association of Professional Book Publishers on your
own website and marketing materials.
Join the growing IAPO Professional Book Publisher community today
and start accessing all of the benefits membership offers.
Visit IAPO International Association of Professional Book Publishers
for more information about benefits and membership fees, and to join.
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Online Communities
“I’ve learned much of what I know about publishing through reading
books on publishing and through trial and error, but my errors have
been minimized by the sound advice provided by fellow members of
the publishing discussion groups.”
—
Leland F. Raymond,
Publisher, CyPress Publications
Another good source of acquiring information from experts is through
online message boards.
Other online communities include:
• Publisher’s Forum
www.pub-forum.net
• Nathan Bransford – Literary Agent: The Forums
(Click on “All Things Publishing”)
http://forums.nathanbransford.com
• Absolute Write Water Cooler
http://absolutewrite.com/forums/forumdisplay.php
• The Book Marketing Network
http://thebookmarketingnetwork.com
• Stack Exchange for Writers
http://writers.stackexchange.com
Business Organizations
You can also join a number of excellent organizations designed for
business owners to learn and network in an organized setting. One
excellent resource is your local Chamber of Commerce. Chambers
usually have an annual fee and are set up to aid the local businessperson
with a variety of business-related issues. Members attend local
meetings and can also take part in events designed to help them be
more successful. Through these connections you may event find out
about part-time or full-time job openings.
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To find the Chamber near you, visit www.officialusa.com/stateguides/
chambers. In Canada, visit www.chamber.ca.
2.3.3Work with a Book Shepherd or
Publishing Coach
“A lot of folks make the mistake of only thinking with their heart when
making publishing decisions, but you have to remember that this is a
business. A lot of times we’re too close to the project and we need an
objective point of view.”
—
Linda F. Radke,
President, Five Star Publications, Inc.
A “book shepherd” (long-time self-publishing expert, the late Dan
Poynter, is credited with coining the term) is a consultant who helps to
steer newbies through the sometimes confusing landscape that is the
publishing world. These consultants generally have many years in the
book publishing business under their belts (they may be former agents
or editors from major publishing houses), and BlackBerrys chock full of
many valuable industry contacts as well.
According to an article entitled “Book Shepherds: Who Are They? What
Do They Do? Should You Hire One?” on the blog SellingBooks.com,
the shepherd can also play the role of coach and mentor, providing
advice and guidance in addition to direct assistance with the process.
A good book shepherd or coach will gain an understanding of your
unique publishing vision and where your passions lie, in addition to
assessing practical issues such as your skills and budget. They will help
you to navigate some of the potentially more intimidating aspects of
the process, such as book design, printer brokering, distribution, and
publicity — ensuring that all your ducks are in a row (and in the right
order!).
If you have the desire to learn the ins and outs of the business on a oneon-one basis, hiring a book shepherd may be an option for you. Keep
in mind, though, that it will cost you in the range of $100 an hour--so
unless you have a large budget for your start-up operation, it pays to
take your time learning as much as you can on your own and exploring
the many free and low-cost resources provided throughout this book,
through online forums, and professional publishing associations.
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If you decide to seek the services of a professional book shepherd,
be sure to thoroughly check their credentials. Check out advice from
sources such as found at the links below. It may also be helpful to get
recommendations from other publishers you’ve met through your
networking efforts.
• www.thebookdesigner.com/2011/07/an-authors-guide-to-book-
birthers-book-shepherds-and-other-consultants
• http://sanfranciscobookreview.com/authors-want-publishing-
help-get-book-shepherd
• http://selfpublishingexperts.com/how-to-choose-a-book-
shepherdmentor
• www.copyediting.com/questions-for-a-book-shepherd-author-
editor-jacqueline-simonds
2.4 Educational Programs
Unlike some professions such as accounting or engineering, there
are no specific educational requirements required to become a book
publisher. However, there are a number of educational credentials that
can help pave the way by giving you a solid foundation in the concepts
and skills necessary to be successful in the field:
• Publishing degree and certificate programs
• Other types of degrees
• Business courses
Each of these educational opportunities will be covered in this section.
In the section that follows, you will find other ways to learn about
publishing through self-study.
NOTE: Information about courses and other educational programs
is provided for the convenience of readers and does not
represent an endorsement. Only you can decide which
educational program, if any, is right for you.
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2.4.1Publishing Degrees, Certificates,
and Seminars
According to our experts, only a very small percentage of people
working in the publishing industry actually hold degrees in publishing
and it is by no means a prerequisite for starting your own publishing
company or successfully self-publishing your work. These programs
can be costly, and experience gained through internships was
mentioned much more frequently as the key to learning about the
industry.
However, networking opportunities with fellow students and
professors can be valuable. There are also many skills to be learned in
such programs, particularly with the increasing role of the internet and
new technology in book publishing. Below we offer some suggestions
on how to find the right program for you.
University-Based Degree and Certificate Programs
A master’s degree in publishing can certainly help give you an edge
over the competition if you are interested in obtaining a paying job
in the publishing field. Some schools, even offer master’s degrees in
publishing in a completely online format for those who require a high
degree of flexibility.
If a master’s degree isn’t in your 5-year plan, or your budget, a certificate
program might be for you. For instance, check out course offerings at
sites like these:
• Simon Fraser University
http://publishing.sfu.ca/publishing-workshops
• Emerson University
www.emerson.edu/professional-studies/certificate-programs/
literary-publishing
• Western State Colorado University
www.western.edu/academics/graduate-programs/publishingcertificate-0
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• New York University
www.scps.nyu.edu/academics/departments/publishing/
academic-offerings/summer-publishing-institute.html
• DePaul University
www.depaul.edu/university-catalog/colleges-and-schools/
class/departments/writing-and-publishing/Pages/certificate-inpublishing.aspx
Two good places to begin your search for master’s degree and certificate
programs in publishing are:
• GraduateSchools.com, which currently lists 62 programs:
www.gradschools.com/programs/communications-publicrelations/publishing
• Bookjobs.com, which currently lists 28 programs:
www.bookjobs.com/publishing-programs
Publishing Courses and Seminars
“There are many resources for parties interested in navigating the
field of publishing. The Independent Book Publishers Association
(formerly Publishers Marketing Association) provides many ongoing
seminars to educate and inform those new to the business.”
—
Tina Jordan, Vice President,
The Association of American Publishers (AAP)
Even if you don’t wish to obtain a degree or certificate from a college or
university, the professional associations listed in the previous section
and other online educational opportunities can provide a shorter and
less costly alternative.
International Association of Professions Career College
The International Association of Professions Career College, also
known as IAP Career College, was established by the publishers of the
guide you are reading and a team of respected academics with the aim
of offering the finest certificate programs for non-traditional careers.
They offer a Book Publisher Certificate Program which uses the guide
you are now reading as a textbook.
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This part-time 6-week course is open to students anywhere in the world
and is offered online, allowing you to earn a Book Publisher Certificate
from the comfort of your own home.
Registration gives you an all-inclusive package consisting of: access
to the comprehensive, self-directed online Book Publisher Certificate
Course, help from a Faculty Member who can provide you with
personal teaching assistance and career advice, and a beautiful
professional Book Publisher Certificate upon successful completion of
the course. When you register for the course, you will also have the
option of becoming a member of the IAPO International Association
of Professional Book Publishers and enjoying its many benefits.
Visit the Book Publishers Certificate Course page on the IAP Career
College website for more information about benefits and fees, and to
register.
Some other ideas include the IBPA 2-Day Publishing University,
providing access to expert consultation, workshops, and an opportunity
to learn new skills. Costs for the 2017 University ranged from $295 to
$475. More information can be found here: www.publishinguniversity.
org.
“I am a big supporter of the IBPA Publishing University held before
each year’s BEA (Book Expo America). [Disclosure, I have co-taught
courses for this.] Whether you are a complete newbie or have some
titles under your belt, there are courses for you. You can get more info
in a couple of days than you could in months at a university. I am not
disparaging university publishing courses. But IBPA’s focus is about
boots-on-the-ground publishing.”
—
Jacqueline Church Simonds,
Co-Owner, Beagle Bay, Inc.
Writer’s Digest online offers a variety of webinars for those with limited
time and budgets. As you might imagine, these focus primarily on
various aspects of writing and related technology for those interested
in creating and publishing their own work Check out live webinars
at www.writersdigestshop.com/browse-by-product/seminars/
live-webinars and be sure not to miss the free webinars at www.
writersdigest.com/free-book-webinars.
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2.4.2 Other Types of Degrees
Book publishers may hold associates, bachelors, or masters degrees in
a wide spectrum of fields including, but not limited to:
• English
• Communications
• Journalism
• Media Studies
• Creative Writing
• Marketing
• Public relations
• Graphic design
Your local college or university may offer these and other business
courses. If you are not interested in attending courses at a school, or you
don’t have the time, another option that can easily fit into your schedule
is distance learning. Traditionally these were called correspondence
courses and the lessons were mailed back and forth between student
and instructor. Today, with the help of the Internet, there are many
online courses available.
To help make sure you are dealing with a reputable school, be sure to
check their accreditation status with reputable accreditors such as the
Distance Education Accrediting Commission (DEAC; formerly Distance
Education and Training Council) at www.deac.org. Avoid diploma
mills and bogus accreditation agencies; see https://en.wikipedia.
org/wiki/List_of_unrecognized_higher_education_accreditation_
organizations for helpful information.
While there is much to be learned from studying all of these fields,
and many others, that can be of use to a book publisher, there is no
particular advantage to holding one degree over another in terms of
establishing your business according to the publishers we spoke with.
A lot depends on the work experience and skills you’ve accumulated,
and your choice of publishing niche. A seemingly unrelated degree
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might serve you well--for example, if you have a degree in veterinary
science and choose to write and publish books on animal care. Many
people end up working in industries that have absolutely nothing to do
with the field in which they hold their degree.
2.4.3 Business Degrees and Courses
Earning a degree, diploma, or certificate in business can be helpful in
running your own business. However, a formal business education is
not necessary to run a publishing business. There are many successful
business owners who are self-taught and have never studied business.
Others have taken a course here and there but do not possess a degree.
However, the skills you learn in business classes can come in handy.
Depending on which of your skills you would like to develop, consider
taking courses on topics such as:
• Advertising
• Basic Accounting
• Business Communications
• Business Management
• Entrepreneurship
• Merchandising
• Retailing
Your local college or university may offer these and other business
courses. Through the continuing education department you may be
able to take a single course on a Saturday or over several evenings. If
you can’t find a listing for the continuing education department on the
college’s website, call the college’s main switchboard and ask for the
continuing education department. They will be able to tell you about
upcoming courses.
Your local Chamber of Commerce may also offer training courses and
seminars for new business owners. Many also offer consultations with
retired executives and business owners who are well-qualified to offer
advice.
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2.5 Resources for Self-Study
This section provides information about books, periodicals, and
websites that can help you get a book publishing education.
2.5.1 Books
Amazon.com lists more than 227,000 books on the subject of writing
alone – and thousands more on the various business and creative skills
you might use as an independent publisher, but of course you do not
have the time to read them all! So here is a selection of excellent books
you may want to start with. Look for them at your local library, browse
through them at a local bookstore, or order them online.
Writing
• The Elements of Style: The Original Edition,
by William Strunk, Jr.
(Originally a self-published book by the way!)
• Writing Down the Bones: Freeing the Writer Within,
by Natalie Goldberg
• Telling True Stories: A Nonfiction Writer’s Guide
from the Nieman Foundation at Harvard University,
by Mark Kramer (ed.) and Wendy Call (ed.)
• On Writing Well: The Classic Guide to Writing Nonfiction,
by William Zinsser
Reference
• Writer’s Market,
by Robert Lee Brewer
(New edition available annually)
Legal
• Kirsch’s Handbook of Publishing Law:
For Authors, Publishers, Editors and Agents,
by Jonathan Kirsch
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• The Copyright Permission and Libel Handbook:
A Step-by-Step Guide for Writers, Editors, and Publishers,
by Lloyd J. Jassin and Steve C. Schecter
• Kirsch’s Guide to the Book Contract: For Authors, Publishers, Editors,
and Agents,
by Jonathan Kirsch
• Self-Publisher’s Legal Handbook: The Step-by-Step Guide to the
Legal Issues of Self-Publishing,
by Helen Sedwick
Marketing
• Sell Your Book Like Wildfire: The Writer’s Guide to Marketing and
Publicity,
by Rob Eagar
• How To Market A Book,
by Joanna Penn
• Promote Your Book: Over 250 Proven, Low-Cost Tips and Techniques
for the Enterprising Author,
by Patricia Fry
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• 1001 Ways to Market Your Books,
by John Kremer
Book Design
• On Book Design,
by Richard Hendel
• Book Design,
by Andrew Haslam
• Bookmaking: Editing, Design, Production,
by Marshall Lee
• Thinking With Type: A Critical Guide for
Designers, Writers, Editors, and Students,
by Ellen Lupton
Publishing Operations
• Publishing for Profit: Successful Bottom-Line
Management for Book Publishers,
by Thomas Woll
• The Essential Guide to Getting Your Book Published: How to Write It,
Sell It, and Market It Successfully,
by Arielle Eckstut and David Henry Sterry
• Published: The Proven Path From Blank Page to Published Author,
by Chandler Bolt
• APE: Author, Publisher, Entrepreneur - How to Publish a Book,
by Guy Kawasaki and Shawn Welch
2.5.2 Websites
If you type “book publishing industry” into a search engine, you
will have literally millions of websites to choose from. So here’s a
short list of the best websites for getting started learning about being
an independent book publisher and enhancing your skills on your
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own. You will find more resources on many of the web sites listed
throughout this guide. The following additional sites either provide
detailed information, or links to detailed information, on numerous
aspects of book publishing.
Publishing Industry Information & Statistics
• Publisher’s Weekly – Up to date industry news and book reviews
Keep up to date on the latest publishing news and trends,
award announcements, author interviews, book reviews, and
the bestsellers. A standard in the publishing industry.
www.publishersweekly.com
• Independent Publisher – Online magazine for the independent
publishing industry
Lots of useful articles and industry news. Subscribe for free
and you will be added to their e-mail distribution list to
receive regular updates.
www.independentpublisher.com
• American Bookseller’s Association – National nonprofit trade
association for booksellers
Includes resources to support independent publishers,
including a publisher partner program to help get your
books into the independent bookselling market. Under the
“Indiebound” tab, click on “publisher resources”. You’ll find
more information to help keep you current under the “News
and Resources” tab.
www.bookweb.org
• Book Industry Study Group – Conducts and publishes industry studies
and statistics
Includes industry news, discussion papers, statistics, and
links to other useful resources.
http://bisg.org
• Shelf Awareness – They describe it best: “Daily enlightenment for the
book trade”
Stay on top of, and gain insight into, the latest industry news.
www.shelf-awareness.com
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Writing
• Writer’s Digest – A long-time staple for writers everywhere
Connect with other writers on their forum and read many
practical articles about the craft of writing, as well as advice
on the business side. Everything from blogs to contest listings.
Also available in print.
www.writersdigest.com
• The Writer Magazine – Another must-read for new authors
Practical articles and advice on writing. Subscription required
for access to their searchable database of over 3,000 publishers,
publications, and contests. Also available in print.
www.writermag.com
• Writing.com – Online community, advice, and feedback from
other writers
Appropriate for writers of all genres and skill levels. Allows
you to share your work through an online portfolio and
interact with your fellow authors. Free membership required.
www.writing.com
• SheWrites.com – Services and support for women writers of all levels
and genres
Offers an assortment of forums, groups, courses, contests, and
blogs by, for, and about women writers and editors. Great,
supportive environment staffed by writing and editorial pros
with great credentials and a variety of backgrounds.
www.shewrites.com
Other Self-Publishing Resources
• Publishing Perspectives
http://publishingperspectives.com
• The Creative Penn
www.thecreativepenn.com
• Bookworks
www.bookworks.com
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• Createbook
www.createbook.org
• Self-Publishing Resources (SPR) – Established by SPAN founders
Marilyn & Tom Ross
This web address is pretty self-explanatory! You’ll find
publishing industry news and statistics, a free newsletter, and
many useful articles on all things publishing.
www.selfpublishingresources.com
Magazines and Trade Publications
• ForeWord Magazine – Trade journal published 6 times annually
highlighting trends in indie publishing
www.forewordreviews.com
• Editor & Publisher
www.editorandpublisher.com
• Independent Publishing
www.theindependentpublishingmagazine.com/
• Publishing Executive
www.pubexec.com
• The Bookseller
www.thebookseller.com
• Writer’s Digest
www.writersdigest.com
• Publisher’s Weekly
www.publishersweekly.com
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3. Starting a Publishing Business
Now that we’ve looked at ways to develop your skills, it’s time to
look at how to go about actually making the decisions and taking the
beginning steps necessary to set up and start your book publishing
company. This chapter of the guide will walk you step-by-step through
the process. The first step is deciding whether you actually want to start
your own publishing company.
3.1 Should You Start Your Own Publishing Company?
Obviously if you’re reading this guide, you’re at least thinking about
the possibility of starting your own book publishing company. It’s
important to do some self-evaluation, however, before making this
decision. You’ll need to start thinking about your short- and long-term
publishing goals and how best to reach them – should you work with
one of the existing “self-publishers” such as Amazon’s CreateSpace or
Lulu, or start your own publishing company?
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Deciding which route is right for you is an important decision that only
you are qualified to make. Factors such as your desire for creative and
legal control over your material, the extent of your budget, amount
of time you’re willing to invest, facility with marketing, personal and
professional goals, and tolerance for risk should all play a role in this
important decision.
3.1.1 Working with a Self-Publishing Company
After reviewing all that is involved in starting your own publishing
company, you might decide that it’s too much work to do it all yourself.
In that case, you might choose to work with a “self-publishing
company” (also known as an “author services company” or “POD
publisher” – not to be confused with a POD printer, which you may
still choose to use upon starting your own publishing company).
While they can be an economical choice in some instances, costing as
little as a few hundred dollars up front, they are, in essence, subsidy
publishing (also called “vanity publishing”). Companies such as
iUniverse, Xlibris (both now owned by AuthorHouse), Trafford
Publishing, and Amazon’s CreateSpace will handle most of the work for
you for a fee using their own in-house team of editors and designers. This
can seem appealing at first. Especially since little up front cost is involved
if you just want to print copies of your book as ordered and don’t sign
on for the “extras”. Some even allow you to create your book for free in
exchange for a cut of the profits. And royalties for the author are usually
higher than you could get through a traditional publisher. But what is
the author really getting? Are there any profits to split?
While the precise definition of “self-publishing” can be somewhat
murky depending on who you ask, and the term is often misused, it is
important to distinguish subsidy publishers from true self-publishing
or independent publishing. In order to publish your work with a
subsidy publisher you don’t need to create your own company or do
much of the hands-on work other than creating and uploading your
manuscript in a Word document. However, bear in mind that these
companies don’t earn the majority of their profits by selling your books,
but rather by selling their services to you as the author. The package of
services and fees vary by company and usually provide some options
in terms of the level of service you can choose (for example, whether
you want professional editing done by them).
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Pros
• Low cost compared to starting a company and utilizing POD
technology limits the amount of money you have to invest up
front for printing.
• Working within an established system means less of a learning
curve.
• These companies maintain a staff of designers and editors so you
don’t have to solicit bids if you need help in these areas.
• Allows you to focus your efforts on your writing.
• Authors generally get a higher percentage royalty than the
standard 10-15% offered by traditional publishing houses and
these rates are climbing.
Cons
• The ISBN number, in most cases, is registered to them as the
publisher of record rather than to you as the author.
• The publisher often retains rights to anything they provide to
you, such as cover art.
• While royalties may be higher than with traditional publishers,
book sales are usually limited unless the author already has a fan
base or does extensive marketing (averaging 100 to 200 copies –
mostly to the author according to industry reports).
“Deluxe” all-inclusive packages can be expensive (those including
manuscript analysis, marketing and PR can cost you upwards of
$25,000).
• Some contracts may contain hidden extra expenses.
• Lack of credibility, at least within publishing circles, comes along
with having the names of these companies listed on your book as
publisher (which, fairly or unfairly, typically means not getting
reviewed or having access to certain markets like brick-andmortar bookstores).
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• Limited distribution and marketing (if any) of your books.
• Lack of quality standards or gatekeeping.
The downside of POD technology as a whole is that printing fewer
copies means a higher cost per unit (with traditional offset printing,
discounts are typically offered based on the size of the print run with
more copies printed equalling a lower per unit cost). Between this
cost and the company taking a percentage of the revenue generated
from every book sale, this means you have to set a higher price for
your books in order to make any sort of profit. A high-priced book can
be prohibitive unless you are offering something others are not – it’s
difficult to compete with other similar but lesser-priced titles.
There are many stories out there of people who have used this method
and been perfectly happy with the results. Whether this is the option
for you depends on your personal and professional goals. Fans of this
publishing method argue that these companies provide access to the
publishing market for people who would not otherwise have the ability
to publish a book.
Opponents challenge that the ease of publishing a book this way has
led to a glut of low-quality, error-filled books that reflect poorly on true
independent publishers who strive for quality. Is this just sour grapes
from a flagging traditional publishing industry, or a legitimate concern
for writers seeking new publishing venues for their work? Probably
somewhere in between. If you’re interested in turning a profit or
building a true business, this is probably not the option that will give
you the best chance of success. But only you can decide which method
is right for you.
The benefits and ease provided by using an existing self-publisher may
be a good fit for many people’s needs, and while they don’t represent
the norm, there are certainly success stories out there. Consider, for
example, New York Times bestselling novel Still Alice by Lisa Genova.
Genova originally published the book for $450 using iUniverse and
marketed it herself. She later sold it to Pocket Books, an imprint of
Simon & Schuster, and received a 6-figure advance.
If you are an author with the goal of publishing a single title with
limited copies, are looking to market your own book with an eye
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toward attracting a major publishing house to the rights, or are just
looking to get your work into print without starting a company and are
not motivated by profit, this might be an option to consider. Lulu and
CreateSpace are both well-reviewed by many authors who consider
publishing a hobby or just want to create something for friends
and family (see www.lulu.com or www.createspace.com for more
information).
We do not endorse or recommend any one service over another as your
own needs may vary. Be sure to research self-publishers carefully before
deciding which (or if) a particular company may meet your needs. At
press time, some thought-provoking recent articles may be found at:
• http://fortune.com/2016/12/30/amazon-kindle-digital-self-
publishing
• www.entrepreneur.com/article/275550
• www.forbes.com/sites/nickmorgan/2016/05/05/which-is-better-
self-publishing-or-traditional-publishing
• www.writehacked.com/writing/createspace-lightning-source-
lulu-where-should-you-self-publish-your-book-the-ultimateresource
• www.toptenreviews.com/services/home/best-online-book-
publishing-companies/index.html
• www.sfwa.org/other-resources/for-authors/writer-beware/pod
• www.dailykos.com/story/2015/1/8/1355957/-Self-publishing-101-
Why-Indy-Publishers-are-Smart-to-Use-Two-Printers-and-NotJust-One
3.1.2 Starting Your Own Publishing Company
Of course, you can always start from scratch and create your own book
publishing company. That way, you can have complete control over
every step of the process and make sure that your book or catalog of
books is everything you want it to be. The information in the rest of this
chapter will show you how to do just that. Starting a true DIY (do-ityourself) independent publishing company takes far more effort that
using an existing service. However, it also comes with greater potential
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reward in terms of control, creativity, and profit. If you’re interested in
publishing multiple books, developing a series, or publishing the work
of other authors, this might be the option for you.
“Total control of the publishing process is the only way to do it once
you learn the ropes. Not only do you determine when to publish, how
to market and what the finished product looks like, but you keep all of
the profits as well. With my first book, Fantasy Football Guidebook, I
opted to allow another publishing firm to publish it. I was very happy
with the process, but learned that sharing the profits with another
company was not in my best interest. So if you have the desire, time,
and energy, running your own publishing business can be more
profitable and fulfilling.”
—
Sam Hendricks, Author and Publisher, Extra Point Press
Creating a book that’s indistinguishable in quality from those produced
by the Big Six is no easy task – but if you’ve decided to start your own
company, that doesn’t mean you have to do everything yourself. Many
tasks can, and should, be outsourced based on your skill set and budget.
In the next chapter we’ll address your options for printing your book
in more detail. Or, with the rising popularity and cost-effectiveness of
e-books, whether you want to print them at all!
In the previous chapter, we examined some of the skills you might need
to call upon as an independent publisher. As you read through this
chapter, begin to assess your publishing goals and budget. Consider
which tasks you want to take on and how, and where you’ll need
creative or business help (e.g. typesetting or fulfillment). Remember to
be honest with yourself as you consider your comfort level with risk
and need for control.
3.2 Choosing Your Niche
“Are you a lizard-lover? A gemstone collector? An expert on hiking in
Tibet? The number of niches is infinite and nobody fills them better
than independent publishers. When considering a niche, consider
this--you must have an interest in it--and so must others.”
—
Florrie Binford Kichler, President, Independent Book
Publishers Association (IBPA)
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The first thing to consider while you’re in the planning stages for your
business is what types of books your company will focus on. This is
called your “niche” or specialty. Do you have a passion for poetry or
bookshelves filled with literary anthologies? Are you dedicated to social
justice causes or women’s issues? Fascinated by French translations
or books relating to a particular culture? As a small, independent
publishing entity, a specialized niche can help you create a name for
yourself and set you apart from the long list of independent publishers.
In the current economy, as book sales from the large traditional
publishers aimed at a broad general audience have flagged, many
self-publishers and indie start-ups have found success by instead
narrowing the scope of their niche, looking for untapped markets and
underrepresented topics and voices. If you’ve ever sought information
on a particular topic and found it lacking, chances are someone else has
too.
Browsing the Categories
“Non-fiction titles are always quite successful, and business, current
affairs, and inspirational books are generally popular”
—
Tina Jordan, Vice President, Association of American
Publishers
Your niche may include strictly fiction or nonfiction titles, or may
encompass both of these as related to a specific category or topic. Some
examples of broader potential categories to get you started thinking in
terms of market include:
• Animals/Pets
• Art history
• Biography
• Business
• Career
• Children’s Illustrated
• Computers/Technology
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• Cooking
• Education
• Gender Studies
• Health/Wellness
• Historical Fiction
• Home & Garden
• Humor
• LGBT
• Literary Fiction
• Memoir
• Military
• Mystery/Thriller
• Photography
• Poetry
• Politics
• Religion/Spirituality
• Romance
• Science
• Science Fiction/Fantasy
• Self-help/Psychology
• Sports
• Travel
• Writing
• Young Adult
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For other ideas, browse the list of categories on Amazon.com,
considering each in light of what experience and specialized knowledge
you may have to contribute. Keep in mind where your writing skills
and interests lie as well. Some categories may work best as strictly
nonfiction, while others lend themselves to both fiction and nonfiction
(sports, for example).
Fiction vs. Nonfiction
“Unless your last name is King, Meyers or Patterson, fiction is
definitely a tough sell. Whereas a niche nonfiction publisher has
a built-in ‘hook’ to promote his [or her ] book (such as building
birdhouses), fiction by its very nature usually has a more general
appeal, making it much more challenging to pinpoint an audience.”
—
Florrie Binford Kichler, President, IBPA
Our experts almost universally agreed on this point and the numbers
back them up. Nonfiction outsells fiction by a margin of 2 to 1.
Publishers of nonfiction will have a much more direct path into the
marketplace, particularly with a well-defined niche and expertise in
your chosen field. It is far more difficult, even for the large traditional
publishing houses, to predict what will make a successful fiction title
(unless it’s attached to a big name author with a built-in loyal following)
because the target market is harder to narrow down.
Still, if fiction is your passion and you’re starting with quality
manuscripts (your own, or the work of other authors), there are several
things you can do to help ensure success. One of our experts offered the
following suggestion on developing fiction projects with an eye toward
marketing:
“If a fictional work deals with a topic in the news, the author can
leverage the expertise gained researching the topic and present
themselves as an expert to interview, thereby gaining exposure that
could prompt book sales.”
—
Leland F. Raymond, Publisher, CyPress Publications
One of the most often cited examples in the fiction category is
Richard Paul Evans’ The Christmas Box, an extremely successful selfpublished work of fiction. Certainly this is the exception rather
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than the rule. For every Christmas Box (published in 1993; see www.
richardpaulevans.com/index.php/books/the-christmas-box) there
are thousands of other self-published works of fiction that are
never purchased or read by anyone besides the author’s friends
and family, so it is important to go into this endeavor with realistic
expectations. You’ll find many lists of supposedly self-published
successful fiction titles on the Internet designed to get your hopes up,
but many were published so long ago that the publishing industry
was an entirely different place – many other such stories are pure
mythology. Still, for those able to think outside the traditional box,
digital novels appropriate for the Kindle, Apple’s iBooks, or other
e-readers appear to be growing in popularity and provide a whole new
market for forward-thinking small fiction publishers.
A more recent publishing phenomenon is the ‘Fifty Shades’ series by
E.L. James (www.eljamesauthor.com); you may already be aware that
the original book in the series began as a self-published ebook. For
more on the history of this series, check out articles such as:
• www.bbc.com/news/business-35482345
• www.huffingtonpost.com/bethany-sales/fifty-shades-of-grey-
publishing_b_3109547.html
• www.theguardian.com/books/2015/jun/18/fifty-shades-of-grey-
the-series-that-tied-publishing-up-in-knots
• www.businessinsider.com/fifty-shades-of-grey-started-out-as-
twilight-fan-fiction-2015-2
• www.adweek.com/galleycat/fifty-shades-of-grey-wayback-
machine/50128?red=as
It is impossible to provide a full list of potential niche areas. Niches
areas are only limited by your own creativity and are constantly
evolving. And, due to the speed in which trends come and go in the
publishing world, it is not advisable to choose a niche strictly because
it’s “hot” at the moment. Certainly keeping up with trends is important
in terms of individual books, and we’ll examine this more below in
our discussion of market research. But keep in mind that the process
of building a publishing catalog and an enduring company with a true
mission, as opposed to a single title, requires sincere dedication to and
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interest in your niche and the readers you serve, and an ability not only
to observe trends but to anticipate them.
“My own observations of the world around me (especially culture)
influence the direction I go. This is how I determined that Fantasy
Sports (particularly Fantasy Football and Fantasy Baseball) needed
some books to guide others. Next, use Amazon.com to find out what
books are in the niche and the quality and price points of other works.”
—
Sam Hendricks, Author, Fantasy Football Basics and
Fantasy Football Tips
Among our experts who addressed this topic, there was almost
universal agreement. Choose something you’re passionate about.
Choose something in which you have expertise. And then do your
homework! You may find it helpful to examine Newpages.com’s
extensive list of indie publishers, an alphabetical compendium that also
provides links to the publishers’ websites and a brief summary of their
niche. You may see some topics that pique your interest or, notice some
that are not well-represented or mentioned at all: www.newpages.com/
books/publishers.
Conducting Market Research
“Most new publishers spring into the business expecting that their
book(s) will be instantly recognized as groundbreaking, fabulous,
lyrical and tremendously informative. In point of fact, the book
industry is like most businesses – it is not a meritocracy. Many really
awful books get launched up the New York Times bestseller list. Many
dreadful authors receive undue praise. It’s not fair. But what in life is?
The only way to succeed in publishing is by knowing your market –
who your audience is (and no, it’s never “anyone who likes to read”),
and being relentless in getting your book in front of them.”
—
Jacqueline C. Simonds, Publisher, Beagle Bay, Inc.
Initially, as you consider what niche to fill, remember that the simplest
approach is to choose subject matter that you are familiar with. As you
compile your list of potential niche areas and conduct the initial phases
of your market research, begin to think about ways you can capitalize
on what you already know. While you may want to stick with what is
familiar at first, be sure your niche also allows your company room to
grow in terms of expanding offerings down the line. Over time you will
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likely find some books are more profitable for you, and you can modify
your offerings as you learn more about what your customers want.
To help you choose your niche you’ll need to do some market research
to give you an idea of trends in book sales and competing titles. You’ll
need to determine:
• Is there a need or desire for what you plan to publish?
• Who is your target audience and what appeals to them?
• What competing books, if any, are currently meeting this need?
• How well are similar books selling?
• Will sales comparable to similar titles be enough for you to
generate a profit?
• If not, what type of added value might you provide to increase
sales?
• What will differentiate your book from the others in your subject
area and what new perspective or expertise can you bring to the
table?
• Does your subject matter lend itself to creating a series?
• What types of outlets (other than bookstores) might carry a book
like this? (Kitchen goods stores, for example, if you’re publishing
cookbooks)
One good place to start is by studying other successful titles similar to
the one you are planning to publish. Don’t be afraid to ask bookstore
owners for their advice. You may hear that sales of certain types of
books are booming, while some genres may be losing popularity.
Of course your local bookstore only gives you a snapshot, and not
necessarily a representative one depending on where you live.
Fortunately, some of the best tools for doing market research can be
found online and are easily accessible. Among the wide variety of sites
offering sales figures for books, check out:
• http://rankforest.com
• http://authorearnings.com
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• www.salesrankexpress.com
• http://selfpublishingadvice.org/amazon-sales-rank-taming-the-
algorithm
• https://authorcentral.amazon.com
• www.betterbooktools.com/analyze-amazon-best-seller-
categories-in-seconds-with-category-hunter
3.3 Choosing a Company Name
If you decide to start up your own book publishing company, choosing
a name may be one of the most important decisions you make for
your new business. Most experts seem to agree that using your own
name (e.g. Deborah Frank Publishing if your name is Deborah Frank)
is a mistake, particularly if you will also be authoring your own
material. This is likely to brand you as an amateur in the industry, and
make it obvious that you are self-publishing your work. Ideally, you
want something catchy that will garner the attention of your desired
market while clearly indicating it is a professional publishing operation
and not just someone with a few boxes of books in the garage.
If you have the financial resources, you could hire a naming professional
to help you choose the right name for your company. Known as name
consultants or naming firms, these organizations are experts at creating
names, and can help you with trademark laws.
TIP:
Business names don’t have to be trademarked, but having
them trademarked prevents anyone else from using the
same name. Trademark laws are complicated, so if you think
you want your company name trademarked it’s a good idea
to consult a lawyer with expertise in that area.
Most people starting up a new publishing company, however, don’t
have the money necessary to hire professional name consultants. The
cost of these services can start at a few thousand dollars. Instead, to
come up with a name yourself, consider your niche and what types of
customers you are trying to reach. You might even hold a brainstorming
session and enlist family and friends for suggestions. If somebody
comes up with a really good one, you’ll probably know it right away.
Here are name samples from a few of the independent publishers we
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surveyed. Consider what each name below tells you about the type of
books they publish.
• Extra Point Press
• Five Star Publications
• Altruist Publishing
Ultimately you are the person who will need to live with your business
name. It should be one that you feel great about. It should feel like it fits
and it should make you happy.
It’s important that your business name not resemble the name of
another similar business offering similar services. For one thing,
prospective clients may confuse the other business with yours and go
with your competitor’s services instead of yours. In addition, if you do
use a name too similar to another business that was in business first
they will have grounds for legal action against you.
Before officially registering your business name, you must conduct
formal fictitious names and trademark searches. (The fictitious names
database is where non-trademarked business names are listed.)
A trademark database lists all registered and trademarked business
names. In the U.S., the essential place to start is with the U.S. Patent and
Trademark Office. You can hire a company to do a name search for you,
or conduct a free search yourself at the PTO’s website at www.uspto.
gov/main/trademarks.htm.
In Canada, information on trademarks is found at www.ic.gc.ca and the
default database for name searches is the Newly Upgraded Automated
Name Search (NUANS) at www.nuans.com. There is a $20 charge for
each NUANS search.
You can also hire a company such as Arvic Search Services (www.arvic.
com) or www.biznamesearch.com to help you with name searches,
trademarks and incorporating your business for a fee. Check online for
“corporate registry services” to find other companies.
In most jurisdictions, once you have chosen your business name you
will also have to file a “Doing Business As” (DBA) application, to
register the fictitious name under which you will conduct your business
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operations. The DBA allows you to operate under a name other than
your own legal name.
Filing a DBA usually takes place at the county level, although some
states require that you file at the state level, publish your intent to
operate under an assumed business name, and sign an affidavit stating
that you have done so. However, in most cases it’s usually just a short
form to fill out and a small filing fee that you pay to your state or
provincial government.
You can find links at the SBA.gov website to the appropriate
government departments where you can file your business name
at www.sba.gov/starting-business/choose-register-your-business.
In Canada, visit www.canadabusiness.ca/eng/page/2730.
3.4 Your Business Plan
“A proper business plan is essential, which includes all elements of
expertise in the field, including the acquisition of content, rights,
editorial acumen, as well as sales, distribution, marketing and
publicity expertise. All of these elements need to be fully integrated
cohesively throughout the business process.”
—
Tina Jordan, Vice President, Association of American
Publishers
Many business owners fail not because their business ideas weren’t
great but rather because of their lack of planning. A business plan is
a detailed breakdown of every aspect of your business, including its
location, sources of start-up funding, aspects of financial planning and
an in-depth description of your proposed business. A good business
plan serves two purposes. It’s your guide (one that can be used and
modified as necessary on an ongoing basis) for how you want your
company to progress and grow.
Your business plan also serves as a sales tool should you decide to
seek outside funding for your business. A business plan is essential
in meeting with your bank manager or other lending institution.
They need to know you are a good risk before they loan you money. A
business plan tells them that you are prepared and know where you’re
going.
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Additionally, a well-thought out plan will help you to identify any
factors that will affect your profits and your competitive advantages. A
business plan will allow you to step back from your excitement about
starting a business, and take an objective look at your plans.
A good plan will help you over the rough spots by identifying where
you might have slow cash flow during certain seasons (e.g., during the
summer when many people are away vacationing). A well-prepared
plan will help you learn who your customers and competition are,
to understand the strengths and weaknesses of your business, and to
recognize factors that could affect the growth of your company.
You shouldn’t treat your business plan as if its contents are written in
stone, however. There are many reasons why you’ll want to keep upto-date with your business plan. As your business changes and grows,
for example, your business plan probably will need some tweaking
to reflect new goals and changing customer purchasing patterns.
(You might find that certain types of books sell better than others as
you move forward.) Your business plan description will need to change
if you branch out into a different product niche, begin negotiating
subsidiary rights, taking on work from outside authors, or modify your
business model based on evolving publishing technology and printing
methods.
In the next section, we’ll guide you through the various elements of
your business plan and how they fit into the overall conception of your
new enterprise.
3.4.1 What To Include In a Business Plan
A business plan can be a simple description of your business concept
or a detailed report, including graphs and charts of potential growth.
A typical business plan should include the following items. You will
learn more about a number of the important items, such as marketing
and store operations, later in this guide.
Cover Page
The cover page should list your name, home address, phone number
and any other contact information you wish to provide. This is an
often-overlooked, yet essential, piece of the business plan. If you are
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presenting your plan to investors or the bank, they must know how to
contact you.
Executive Summary
This should be an upbeat explanation of your overall concept. Think
of the paragraphs on the backs of book covers. An executive summary
encapsulates the major contents of your business plan just as the
paragraphs summarize the plot of a book. You want to sell your idea,
so you need to keep it positive.
You should write the Executive Summary after the rest of the sections
are completed (except, of course, the Table of Contents). The Executive
Summary is the synopsis of your business vision. It should be concise
and explain the major contents of your business plan. Be sure to include
the following important points:
• Business start date and location
• Financial objectives for the year
• Commitment to resources (inventory, facilities, staff)
• Products and services
• A strong closing statement
Table of Contents
Make it easy for your investors by including a Table of Contents so they
can easily turn to specific items such as your profit projections.
A Table of Contents, although it’s the first thing to appear in the plan,
should be the last thing you write. That way you already have all the
content and page numbers in place.
Description
The description of your business should cover the products and services
you plan to offer and be as specific as possible. You can also include
industry information about other book publishers in your niche market.
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In this section of your business plan, you will include the following:
Products and Services: What type of books you will be offering to
customers and in what formats (audio books, e-books, print, etc.); any
additional product lines or services you hope to add.
Customers: This is the section to give an overview of who you think
your typical customers will be.
Goals: What would you like to achieve by starting your publishing
company? To establish yourself as a specialist in a certain sector of the
industry? Expand your company to a larger operation with an increased
number of titles published per year within five years? Describe your
business goals in this section.
Unique Features: What will separate your company from others? What
strengths will your business have over other similar independent
publishers in your niche? What previously unfilled product or service
area of the industry are you filling? This will also be a part of your
marketing section.
Management: In this section describe the business’ ownership and
explain its legal structure, whether or not you intend to hire employees
or freelance help, and what training you will offer to them.
Start-Up Costs: Lenders are particularly interested in how much you
need to get your business running. Provide an overview of your
financing requirements, including your own investment contribution,
and any additional sources of working capital; explain your business
registration, licenses, and insurance. This will be only a summary
description. More in-depth descriptions and details about finances will
follow in your financial section.
While you should include some details about all of the items above,
remember that the business description section provides only an
overview. This is to give readers of your business plan a quick summary
of how the store will be set up, your starting financial position, and an
overview of the management and operation of your store. Some parts
will obviously overlap with the more detailed information provided in
the other sections.
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Legal Structure
The next section to include is how your business will be set up from
a legal standpoint. Here you will describe the legal structure of your
business, such as sole proprietorship, partnership or corporation.
This section may be included with the description of your business, or
you can include it under a separate heading. Like other parts of your
business plan, you can rearrange the sections or group them together.
(You’ll learn more about business legal structures in section 3.7.1 a little
later in this chapter.)
Location
If you will not be working from a home office and have not already
chosen a location, then explain the type of space you wish to lease or
purchase (including for storage and shipping), and why you think it
is a good location. If you need help finding a location, contact a local
realtor to find out what is available for lease. If you have already chosen
a location, then describe it and detail the positive points about where it
is situated and why the site will be a good one for your business.
Your Market
Who are your potential customers and why? Use statistics from the
market research you did in determining your niche to show you have
done your homework. All businesses compete for customers, market
share, and publicity. So it’s smart to know who your competitors are and
exactly what they’re doing. To provide services that are different and
better than those of your rivals, you need to evaluate your competitors’
books, how they’re promoting them, who is buying them, and other
information.
Competition
List your competition. While it may not be a good idea to list every
single competitor, it is a good idea to list a couple of the toughest ones.
This will show the bank or investors you have realistic expectations
about your business and are aware of what you need to do to survive.
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Inventory and Pricing
Here, you will explain how you plan to acquire material to publish,
whether you are writing it yourself or acquiring manuscripts from other
authors (unpublished works, reprints, or foreign translations). List any
suppliers, wholesalers, distributors, and sales representatives you plan
to work with (figuring in discounts offered by your distributors), and
what items you will need for the daily operation of your business.
You may have to estimate prices, so your homework on other
publishers in your category and what they charge for similar books
will be invaluable. Book pricing is a more complex endeavor than
pricing other types of merchandise for retail as a significant amount
of discounting often takes place, some of which you have little control
over. The prices you charge for your books, and the profit per copy you
earn, will depend on many factors including supply and demand, your
format (whether you sell only e-books, trade paperbacks, hardcover
books, or mass market paperbacks), your printing method and size of
print run, and the outlets through which you will be selling.
Some outlets, including most brick-and-mortar bookstores, will only
accept books they can return (basically a consignment deal), and many
afford the publisher surprisingly little control over the actual book price
set. This is beginning to change within the e-book market as publishers
have pushed back against retailers like Amazon and Apple which had
previously set standard rates for all e-books.
For print books, one formula suggests pricing your book at
approximately 8 to 10 times your cost for production, distribution, and
marketing -- but this may not always work out realistically depending
on your competition’s prices and discounts required by your
distribution channels. See section 5.1 for more about how to determine
prices and track profitability for your books, both print and digital.
Marketing
How will you determine your target market and then get the word out
about your books? Be detailed here. List specific marketing campaigns
you plan to use, sample press releases, any trade shows you plan to
attend, and potential reviewers for your books. (To learn more about
marketing see Chapter 6.)
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Management and Staff
This section should highlight your background and business
experience. This is also a good place to explain your passion for the
type of books you will be publishing and any expertise you have in
the subject matter or connections within the industry. You are selling
yourself in this section. List any type of business background, from
working in retail to relevant classes you have taken.
This section also includes information about staffing. It is unlikely you
can do all the work yourself. Even if you do not plan to hire others right
away, you should have a contingency plan in case you are ill, or some
other catastrophe strikes. At the very least, you should make it clear
you have several family members or friends willing to step in and help
in case of an emergency. If you do plan to hire staff, then state that here,
and mention your projected labor costs.
Your Financial Plan
The financial section of your business plan will include your financial
projections, break-even analysis, a projected profit and loss statement
(also called an income statement), and information about your personal
finances.
Your financial projections include both your startup costs and your
operating costs. The startup budget includes all the costs necessary
to get your business up and running. Operating costs are ongoing
expenses, such as advertising, utilities, rent and so forth. You can find
more information about creating these budgets in section 3.4.2.
List expected profits and/or losses for at least the first year, but
preferably for three years. You will want to break this down on a monthto-month basis. Show where the money is going and how much you
expect will come in. It is advisable to account for estimated returned
books as well (averaging 20%, though this may be considerably higher).
If the business plan is for a loan, explain how much you need to borrow,
why you need that much (exact uses of money), and where you plan to
obtain it.
Your financial management plan also should address the accounting
system you plan to use. Many small business owners conduct their own
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accounting, using software such as Quicken (www.quicken.com) or
QuickBooks (http://quickbooks.intuit.com), while others hire someone
to set up a system.
The Extras
In addition to these major areas, your business plan should include the
extras mentioned earlier:
A Cover Sheet
This identifies your business and explains the purpose of the business
plan. Be sure to include your name, the name of the business, and the
name of any partners, if applicable. Also include your address, phone
number, email address, and other relevant information.
Table of Contents
This goes just under your cover sheet and tells what’s included in your
business plan. Use major headings and subheadings to identify the
contents.
Executive Summary
Basically, this is a summary of your business plan. It should summarize
everything you’ve included in the main body of the plan.
Financial Projections
This is an estimate of how much money you’ll need to start your
business, and how much you expect to earn. Remember to support
your projections with explanations. This is the bottom line that most
banks and investors will want to see. This will include start-up budgets,
an estimation of revenue and expenses and a projection of when
profitability will occur. See section 3.4.2 for more on this topic.
Supporting Documents
If you will be seeking start-up funding, you’ll be expected to include
financial information. This may include your personal (and business,
if applicable) tax returns for the past three years, a personal financial
statement (get a form from your bank) and a copy of a lease agreement
if you will rent office space.
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3.4.2 Start-Up Financial Planning
Financial management is crucial to running a successful business.
Depending on your needs and goals, a start-up publishing operation
can require an investment of thousands of dollars for large offset print
runs, or can require relatively minimal investment up front. If you’ll
be utilizing cost-saving new technologies with stand-alone e-books
or POD printing, you’ll not only save on printing costs, but also
require zero space for inventory storage and, in the case of e-books,
no shipping costs or distribution fees. Though economical, there is
a downside to consider, including increased per copy print costs for
POD. These options will be discussed in more detail in chapter 4. If
you’ll be working from a home office, at least initially, leasing office
space and hiring staff won’t need to be budgeted for in start-up costs.
Every business has expenses, however, so one of the first important
questions you should find an answer for is how you will finance your
operating costs until you turn a profit. Expenses may include things
like purchasing a block of ISBN numbers, hiring freelancers for book
design, indexing, or editing and proofreading, shipping supplies
and postage costs, marketing, distribution, and fulfillment costs and
so on. In addition, you’ll need to decide how much you want to save
for unexpected expenses, and how much you will put back into the
business to finance growth.
Budgeting Basics
If you have ever sat down and calculated how much money you’ll
need for something like the family vacation by figuring out what your
income and expenses are, you already know how to budget. The most
difficult part of budgeting for a business is that, unlike when you
work for a steady paycheck, it’s more difficult to project your expected
income after you pay all your expenses out of your revenues.
To clarify the situation in your business plan you will need to
determine, as best you can, both your start-up costs and your operating
costs. The start-up budget will include all the costs necessary to get
your business up and running. Your operating costs will be all of the
ongoing expenses once the business is in operation. In your planning,
be clear about where the money is going and why, and explain how you
came to your conclusions.
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The good news is that there is no such thing as a “typical budget” when
it comes to publishing; you’ll likely find options to suit your needs,
whatever your budget. Unlike starting a retail operation, producing
books can be done with relatively little financial investment. In fact,
with the right skills and “do it yourself” attitude, combined with
digital technology, you can produce an e-book at almost zero cost.
On the other end of the spectrum, you could invest in a high-end cover
designer, an offset print run of 2,000 or so books and launch a full-scale
marketing campaign, which might run you in the range of $10,000 to
$25,000. More likely, your needs will fall somewhere in between.
Here are some things you should consider when completing your
revenue forecast and financial projections:
• Market trends and cycles
• Any prepublication book sales
• Varied sources of revenue
• Subsidiary rights sales (such as book clubs)
• Unexpected events (such as equipment breakdowns, personal
illness, etc.)
• Cost for storage space (if not using a fulfillment company)
• How will you monitor your cash flow?
Use the following to estimate your start-up expenses and your monthly
operating expenses. Note that even if an item is listed below, that
doesn’t mean you have to budget for it. You may not need it, or you
may already have it. You should also consider if there are expenses not
on this list that will apply to you. We have not included the potential
cost of hiring outside help on this list of expenses.
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Start-Up Expenses
Item
Low
High
Office furniture (see checklist later in this section)
_______
_______
Computer
_______
_______
Color printer/copier/scanner
(separate or all-in-one)
_______
_______
Office software
_______
_______
Design software
_______
_______
Business phone line installation fee
_______
_______
Telephone
_______
_______
Office supplies
_______
_______
Stationery
_______
_______
Business cards
_______
_______
Printing (brochures or other marketing materials)
_______
_______
Website setup costs (design, domain name, etc.)
_______
_______
Business licenses/fees
_______
_______
ISBN number(s), barcodes,
or other book registration services
_______
_______
Professional consulting (lawyer, accountant)
_______
_______
Other (list each item)
_______
_______
TOTAL
_______
_______
You can get a good idea for the cost of many of these budget items by
browsing business supply websites. You may also want to get an idea
of the going rates for hiring quality professional editors, proofreaders,
and book indexers through the Editorial Freelancers Association
website (keep in mind these rates will vary enormously among
freelancers depending on their level of experience): www.the-efa.org/
res/rates.php.
When writing your business plan, be realistic. It is better to overestimate
costs and underestimate profit. If you make more than expected in your
first few months to a year, then so much the better. You will be in great
shape!
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Monthly Operating Expenses
Your monthly operating expenses include both fixed and variable
costs. Fixed costs remain the same from month to month regardless of
the amount of work you do (examples include rent and membership
dues), while variable costs may vary from month to month (examples
include travel and taxes). To estimate monthly variable costs, start by
estimating a yearly total than divide that by 12 for a monthly average.
Monthly Operating Expenses
Item
Low
High
Salaries or fees for freelancers
_______
_______
Benefits
_______
_______
Rent
(or portion of mortgage)
_______
_______
Office supplies
(see checklist later in this section)
_______
_______
Telephone
_______
_______
Internet service
_______
_______
Postage and courier
_______
_______
Travel expenses including mileage
_______
_______
Insurance costs
_______
_______
Membership dues
_______
_______
Printing materials
_______
_______
Marketing expenses
_______
_______
Web hosting
_______
_______
Magazine subscriptions and
professional literature
_______
_______
Training and conferences
_______
_______
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Legal and accounting services
_______
_______
Banking expenses
_______
_______
Entertainment
_______
_______
Taxes
_______
_______
Other
(list each item)
_______
_______
TOTAL
_______
_______
Take any bills, that occur either quarterly or yearly, such as insurance
and taxes, and divide them by 4 (quarterly) or 12 (yearly) to find out
how much you pay for those expenses each month. Creating a monthly
budget will help you plan for your first year in business. After the
first year, you can then build a budget for year two based on what
you actually spent during your first year. Your monthly budget will
also help you determine what costs you need to cover before you start
making a profit.
Your own costs may vary widely from those of other small publishers,
depending on what you currently have and what you plan to do with
your business. For example, your rent might range from $0 if you have
a home office to $1,000 per month for leased office space.
Supplies and Equipment
Following are checklists of typical office equipment and supplies
required for a book publishing business. Keep in mind, however, that
many offices are now going green and limiting the amount of paper
supplies they use. This is not only good for the environment, but also
for your wallet. Keeping as much of your business electronic as possible
also means less space required for storage. You can learn more about
how to set up an ecofriendly office through the U.S. government’s
Green Business Guide: www.sba.gov/managing-business/runningbusiness/green-business-guide.
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Furniture and Equipment Checklist
Bookcases for reference material
Chair(s)
Computer and software
Printer/copier/scanner
Desk (one or more)
Filing cabinet
Lamps and lighting
Storage shelves
Work table
Supplies and Small Equipment
Accordion files
Binders
Brochures
Business cards
Business stationery
Calculator
Cell phone
Day planner or PDA
Envelopes (all sizes)
File folders
File labels
Index cards
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Mailing labels • Mailing envelopes
Paper
Paper clips
Paper cutter (for trimming brochures, postcards, etc.)
Pens, pencils, markers, and erasers
Post-it notes
Postage stamps
Rubber bands
Ruler
Stapler and staples
Tape
Most of the large retail office supply chains can set you up with
everything you need for your office at a reasonable price.
• Staples
www.staples.com
• Office Depot
www.officedepot.com
• OfficeMax
www.officemax.com
With annual and average monthly figures projected, you can now take
a look at where the money is being spent and make some informed
decisions about how to cut back on some of the expenditures in order
to grow profits. Coming up, we’ll show you how to calculate a breakeven point for your business based on the projections you have already
made for your operating expenses.
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Sales Projections
Before you can start your budget, you must arrive at some reasonable
monthly sales projections. Many business decisions will be based on
the level of sales that you forecast, so if you’re too optimistic, you might
find your business in trouble. As mentioned earlier, it’s always best to
be conservative in your estimates.
Alternatively, if you underestimate the amount of sales, you might
make decisions that hold back the growth of your business, such as
deciding on a less-than-perfect store location because the rent or
building purchase price is cheaper. A certain amount of “guesstimating”
is required, but you can learn as much as possible about your market
beforehand in order to make the estimates more accurate.
One way to figure out how much you will need to sell to make a profit
is to figure out the average cost of your items. Once you have done a
little research on who your distributors will be, you can go ahead and
contact them to get more information about your initial costs.
Calculating Your Break-even Point
Break-even analysis is a good way to find out how much you must sell
in order to cover your costs. (You can compare the result with your
projected revenues to see how they match up.) This is without profit
or loss; profit comes after the break-even point. Figuring out your
break-even point involves a fairly straightforward calculation. You
must, however, have all the figures ready in advance before you can get
an accurate number. In addition, in order to calculate the break-even
point, you’ll first need to break out fixed (non-controllable) costs like
rent from variable costs like supplies.
You should also be aware that this number does not represent the
amount of sales you need to make in order to “break even” for the year.
This number is for you to determine at what point during the year,
given a certain amount of sales, your earnings will begin to outstrip
your expenses. If it comes early in the year, you will be in great shape.
If it comes late in the year, you may need to make some changes in
order to show a profit for the year. This formula can also be applied to
monthly sales and expenses to show you where you reach the breakeven point during the month.
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Sample Break-Even Point
The formula is:
Break-even point = Total fixed costs ÷
(1 – total variable costs ÷ revenues)
Let’s say your business has fixed expenses of $22,200 for lease payments
and $8,000 for loan costs (totaling $30,200) during the first year. The rest
of the budget expenses are variable costs, totaling $63,325. Based on
revenues, variable costs are 56% (or in other words, for every dollar in
sales, 56 cents is variable costs).
Here’s how to calculate your break-even point.
Break-Even Point = Fixed costs $30,200 divided by (1 minus variable
costs $63,325 divided by revenues $112,500)
30,200 ÷ (1 - 63,325 ÷ 112,500)
30,200 ÷ (1 - 0.56)
30,200 ÷ 0.44
Break-Even Point = $69,000 (rounded)
So in this example, your business will have to earn gross revenues
of about $69,000 each year in order to break even. This company
is operating at 112500/69000 or 163% of break-even, meaning it is
profitable. With these figures determined, you can now look at ways
of reducing your variable costs as well as increasing your revenues
to try to widen the gap between gross revenues and your break-even
point. It’s also a good way to see if your projected revenues are realistic
when balanced against known expenses. Of course you’ll more likely
be dealing with much smaller figures, at least starting out! And if
you’re just looking to self-publish one book, don’t spend too much time
getting caught up in calculations like this. This information is presented
for your information as your business grows and expands – it’s always
good to be prepared!
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3.4.3 Business Plan Resources
SBA
The SBA offers help with business start-ups and has a variety of
programs and services for the small business owner. The site also has
links to sample business plans, a business plan workshop, an interactive
business planner and more. Visit www.sba.gov/business-guide/planyour-business/write-your-business-plan.
SCORE
A non-profit organization, SCORE has volunteers who provide
counseling and mentoring to new business start-ups. They also offer
an outstanding free business plan template, available in Word or PDF
formats, and an online workshop on how to “Develop a Business
Plan,” as well as many other tips and resources. Visit www.score.org/
resource/business-planning-financial-statements-template-gallery.
Canada Business Network
You will find a wide range of information at http://canadabusiness.
ca/business-planning, including a step-by-step guide to walk you
through starting your new business.
Business Plan Pro Software
If you want help creating a professional business plan, another option
is to buy business planning software from PaloAlto Software (www.
paloalto.com). The standard version of Business Plan Pro is available
for $99.95; the premier version is $159.95. Business Plan Pro offers a
step-by-step guide to creating a business plan, as well as 500 samples.
Sample Business Plan
Here are a couple of sample business plans for publishing businesses:
• www.bplans.com/business_analysis_publishing_business_
plan/executive_summary_fc.php
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• www.bplans.com/magazine_publisher_business_plan/
executive_summary_fc.php
At the pages above, you can see the executive summary; scroll to the
bottom of the page to find links to other areas of the business plan.
3.5 Where to Find Start-Up Financing
This section covers sources of start-up financing, and what you’ll need
to present to lenders in order to apply for funding. As a small publisher,
you may not need a great deal of financing to begin with, depending
on your scope of operations. This information is presented for those
whose publishing plans are on a larger scale. Additional advice on all
aspects of financing your business can be found at the SBA’s website
at www.sba.gov/starting-business/business-financials and www.sba.
gov/starting-business/finance-your-business. In Canada, visit http://
canadabusiness.ca/managing-your-business/day-to-day-operations/
managing-your-finances.
3.5.1 Getting Prepared
When looking for funding, you must first be well prepared before
approaching any potential loan or investment sources. You will need
the following things:
• A Business Plan: As you learned in the previous section, a business
plan is the document that lenders will review to decide whether
or not to give you a loan. This document is absolutely necessary
for banks or other lenders, and even if you are getting the startup money you need from a rich aunt, you should prepare your
business plan and present it so the person lending you money can
see that you have a clear and organized plan. (If you haven’t read
it already, see section 3.4 for advice on creating a business plan.)
Your financial statements are a particularly important part of your
business plan.
• A Personal Financial Statement: This should be prepared as part of
your business plan. It is important because you need to have a
clear picture of your own financial state to know exactly where
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you are financially before you begin. This financial statement will
tell you:
• How much money you need every month to pay your bills
• What kind of resources or assets you have
• What kind of debt you carry. How will you repay this debt
while you are putting your total effort into opening your
store?
• A Start-Up Survival Nest Egg: Many financial consultants think
that having a nest egg to live on while you are starting up your
store is one of the most important things you can have. Some
suggest at least six months’ of living expense money — that is, all
the money you will need monthly to pay all your personal living
expenses, bills, and debts, so you can focus on your new retail
business without stress. This is apart from any reserve start-up
capital you might need for the business itself.
Asking for Money
Keep these tips in mind when you ask someone for funding:
• Get an introduction or referral. If you can get someone who is
respected in the community to introduce you to a potential lender,
it gives you credibility and that’s a big advantage.
• Have an extra copy of your business plan available for the
potential lender’s inspection, and be able to speak clearly and
concisely about your plans. Be able to discuss all aspects of
your business plan, your long-range goals and your prospective
market.
• Be professional. Shake hands, speak with confidence and look the
person you’re talking to in the eye.
• Dress to impress. You’re going to be a business owner. Be sure
you look the part.
• Be receptive. Even if you don’t end up getting any money from
a prospective lender or investor, you may be able to get ideas
and suggestions from them. Perhaps they’ll have some pointers
regarding your business plan, or some suggestions about steering
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your business in a particular direction. Don’t be afraid to ask
questions, either.
Remember that if someone agrees to loan you money or invest in your
business, they’re doing so because they believe in you and what you
can do. When you ask someone for money, you need to sell yourself
and your ideas. Make sure you have a great sales pitch.
There are a number of online resources to help you find out more about
financing options for your business. The SBA link noted above is a good
place to start in the United States. In the “Start Your Business” section
of the Small Business Planner, open the “Finance Start-Up” link and
scroll down to find Loan and Funding information. In Canada, you
can try the Canada Business “Grants and Finances” page at http://
canadabusiness.ca/grants-and-financing/.
Now that you know the basics, you are ready to determine who you
will approach for your funding.
3.5.2 Equity vs. Debt Financing
In business, there are two basic kinds of financing: equity financing and
debt financing. Essentially, equity financing is when you agree to give
someone a share in your business in exchange for an agreed amount
of investment capital from that person. Debt financing is, as you
probably already know, borrowing money at interest that you pay back
in installments over time or in a lump sum at a specified future date.
(Or repayment could be a combination of these; the point is, you’ll pay
interest). The decision to choose debt or equity financing usually will
be based on your personal financial position and how much additional
money you need in order to get your business started.
One form of equity financing is investment capital provided by venture
capitalists. You’ll want to look for an individual or investment firm
that is familiar with your industry. You’ll have less explaining of your
business concept to do and they might be more open to investing in a
company such as yours whose premise they already understand.
While a venture capital investor won’t expect you to pay interest and
regular monthly installments, they will expect some kind of return on
their investment. This could include dividends paid out of your net
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income, the right to interfere with operations if they think they could
do better, or the right to resell their interest to someone else for a
higher price than they originally paid for their share of your company.
Make sure that you are comfortable with the terms of any investment
capital agreement, and that it clearly specifies what your obligations
are. Check with a lawyer if you’re not sure.
Another form of equity investment comes from your circle of friends
and your family. You might be able to get a no-interest loan from a
family member or a close friend, with the promise to pay them back at a
time in the future when your business is self-sustaining. This is an ideal
situation for you so long as the lender has no expectation of “helping”
you run your business if you’re not comfortable with that. You may also
decide to bring in a friend, business acquaintance, or family member as
a partner if they have some capital to invest to help cover start-up costs.
Debt financing is any form of borrowing, including a loan, lease, line
of credit or other debt instrument on which you must pay interest in
order to finance the original principal amount. Sources for this kind
of financing include banks, credit unions, credit card companies,
suppliers, and so on. If you buy a computer system for your company
and pay for it in monthly installments over a couple of years, that is a
form of debt financing since you will pay interest on the amount you
finance. In the following sections we’ll look at some of the sources of
each type of financing and the advantages and disadvantages to each.
3.5.3 Borrowing Money
You can choose to utilize any mixture of the financing suggestions
that follow. Many new business owners choose a mix of some of their
own savings, a family loan, and a small business loan. Only you can
decide which financing sources will be the best ones for your business
and your personal situation. The most important thing is to make sure
you agree to loan repayment terms that you can live with and that are
realistic for you.
Commercial Loans
Commercial loans are loans that you can get from a financial institution
like a bank or a credit union. You can go to your neighborhood bank
around the corner to set up all your small business banking needs, or
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you can shop around for a bank that will offer you the best loan terms
possible.
The terms of your loan will depend upon several things:
• Your credit score
• Your collateral
• Your ability to pay back a loan
There are a number of different loan types you can enter into with
these financial institutions. They offer both long-term and short-term
loans. For example, you might choose an operating term loan with a
repayment period of one year. This will help you finance your startup costs such as buying equipment and inventory or pay for any
renovations you might need to do.
TIP:
If you’re looking for a long-term loan of less than $50,000 the
bank will probably consider it a personal loan. As a result,
they will be more interested in your personal credit history,
and they may require you to put up personal assets such as
real estate as security.
You might also choose a business line of credit if your situation warrants
such an arrangement. In this setup, the bank will grant you what is
in essence a revolving loan in a specified amount, and will honor any
checks you write to pay for your ongoing business expenses. You will
pay interest on any amounts outstanding under the line of credit.
Remember that lines of credit are to be used to pay for operating
expenses as needed. Don’t abuse the privilege by going out and buying
thousands of dollars worth of office equipment or a new car for the
business. If you do, then you won’t be able to meet the projections you
gave the lender when you presented the business plan to them. Those
projections are why you got the line of credit in the first place.
Operating term loans and lines of credit, particularly if they are
unsecured by assets (or other collateral), will have higher rates of
interest attached. In some cases, the lender may require that you offer
some sort of security for the loan, such as having a co-signer or putting
up your personal assets against it. Some lenders may accept inventory
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(usually at 50% of your cost to purchase it) as a portion of collateral.
Another consideration is that your interest rate will change as the
bank’s interest rates fluctuate.
You might choose a long-term loan, rather than short-term financing, if
you need to do major renovations or building, or take out a mortgage
if you intend to purchase a building as your retail location. One
advantage to this type of financing is that the interest rates are usually
lower. This is because the loan is paid back over a longer period of time
than an operating term loan or line of credit, and you pay interest at
a fixed, instead of a variable, rate. Another reason interest is lower is
that the loan is backed by the value of the asset you’re purchasing. This
makes repayment of the loan more likely. (The lender can always sell an
asset like a building if you default on the loan.)
One major disadvantage to a long-term loan is that you will have a debt
burden that you will need to carry for a number of years. This can affect
your company’s growth because you might not have the liquidity you
need to pay for expansion or to pursue new lines of merchandise. You
might also have to pay a financial penalty if you decide to pay back the
loan earlier. Consider all your options carefully before you enter into
any kind of long-term debt arrangement. Speak with an accountant and
a lawyer first.
Personal Loans
One of the greatest resources for your start-up money will always be
the people you know who believe in you and your ideas—your family
and friends. Very often they will help you with money when all other
resources fail you. They usually will agree to payback terms that aren’t
as strict as commercial lenders, and they are usually pulling for you,
too. As with any other kind of loan, it is important to make sure that
you and the other parties completely understand and agree to the terms
of the loan. Also, make sure to put everything in writing.
Another possibility is to ask a family member to co-sign a commercial
loan for you. Co-signing means that this person agrees to take on the
financial responsibility of the loan if you should fail. Family members
are often willing to help you out this way. Make sure, before friends or
family members help you out by co-signing a loan, that they are really
comfortable doing so.
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3.5.4 Finding Investors
Venture Capital and Investment Capital Investors
Depending on the type and size of your business, you might consider
finding investors to help you with your start-up capital. You may find
that some investors are not willing to invest venture capital in a small,
single-location retail store, however, many small retailers have gone on
to grow their companies into regional or national chains. So this type
of investment may well be something you’ll want to look into for the
future. As you’ll see later in this section, there are ways to find investors
willing to put money into small businesses.
Remember that investors are looking to make money by investing their
capital in your business. They may or may not be people you know,
but they will want you to show them how they will make a profit by
helping you. You have to assure them that they will get something
out of it, because for them investing in your store isn’t personal (like
it might be when a family member invests in your business), it is
business. Investors work one of two ways:
• They want to see their initial money returned with a profit
• They want to own part of your business
While investment capital might seem like a great idea, be aware that
many entrepreneurs have been burned when venture capital vanished
when the start-up money was needed. As mentioned earlier, the
investment agreement could contain unsavory terms that give too great
a portion of control to the investor instead of leaving it in the hands of
the company owner.
However, on the plus side, private investors can be more flexible to deal
with than lending institutions like banks. They may not want to get
too deeply involved with the day-to-day management of the company.
They might also be more willing to accept a higher level of risk than a
bank, trusting in your skills and knowledge of the industry and leave
your assets unencumbered.
To find venture capital investors beyond your immediate circle of
family and friends, you can investigate some of the resources found at
the websites listed below.
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• VFinance
www.vfinance.com
• Funding Post
www.fundingpost.com
• National Association of Investment Companies
www.naicvc.com
• Small Business Investor Alliance
www.sbia.org
• Canadian Venture Capital & Private Equity Association
www.cvca.ca
You can also find investment capital through the Small Business
Administration’s Small Business Investment Company (SBIC)
program. While the SBA does not act as an intermediary on behalf of
entre¬preneurs, they do have a wealth of information about the process
of finding investors on their website at www.sba.gov/sbic.
You have to decide what you want. Do you feel you will be able to meet
the investor’s terms? Do you want to share ownership of your business
with another person? For some new business owners, the perfect
solution is to find a person who wants to partner with them, share the
responsibility of their new store, and bring some money to invest.
Partners
One of the simplest forms of equity financing is taking on a partner.
Having a partner in your business brings additional skill sets, business
contacts and resources to the venture. Most importantly, a partner can
bring money to help pay for start-up costs and assist with ongoing
operations. You’ll need to decide whether your partner will be active
in the running of the company or just a silent partner who invests the
money, receives income from the business, but has no say in how things
are run. (You can read more about Partnerships as a form of business
legal structure in section 3.7.1.)
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You as an Investor
Never forget that you might be your own best source of funding.
One nice thing about using your own money is that you aren’t obligated
to anyone else or any other organization—it is yours to invest. This
can be an excellent solution for individuals with some credit problems.
To raise your own capital, you can:
• Cash out stocks, bonds, life insurance, an IRA, RRSP, or other
retirement account
• Increase your credit on charge cards (remember that you will pay
high interest rates on these)
• Use personal savings
• Take out a second mortgage or home equity loan on your house
or other property
• Sell something valuable, like a car, jewelry, real estate, or art
3.5.5 Government Programs
Small Business Administration Loans
The Small Business Administration (SBA) doesn’t actually lend
you money. However, they have a program called the “7(a) Loan
Program” in which they work with banks to provide loan services to
small business owners. The SBA guarantees a percentage of the loan
that a commercial lender will give you, so that if you default on your
payments, the bank will still get back the amount guaranteed by the
SBA. Both the bank and the SBA share the risk in lending money to
you. As the borrower, you are still responsible for the full amount of
the loan.
When you apply for a small business loan, you will actually apply at
your local bank. The bank then decides whether they will make the
loan internally or use the SBA program. Under this program, the
government does not provide any financial contribution, and does not
make loans itself.
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The SBA also provides a pre-qualification program that assists business
start-ups in putting together a viable funding request package for
submission to lenders. They will work with you to help you apply for
a loan up to a maximum amount of $250,000. Once the loan package
has been submitted, studied, and approved by the SBA, they will issue
a commitment letter on your behalf that you can submit to lenders for
consideration.
In essence, the SBA gives lenders the reassurance that they will pay
back the loan if you don’t. They provide the extra assurance that many
lenders need to get entrepreneurs the financing they need. You can read
more about the process at www.sba.gov/starting-business/financeyour-business/loans/sba-loans.
The SBA also has a “Micro-Loans” program, which offers loans to startup and newly established businesses through non-profit entities at
the local level up to a maximum of $35,000. The average loan is about
$13,000. Interest rates for these small loans vary between about 8 to
13 percent. You can find out more about these loans at www.sba.gov/
loans-grants/see-what-sba-offers/sba-loan-programs/microloanprogram.
Government Programs in Canada
If you are planning to open a retail business in Canada, you might
be interested in the Business Development Bank of Canada (BDC) or
the Canada Small Business Financing Program (CSBF). The BDC is
a financial institution owned by the federal government that offers
consulting and financing services to help get small businesses started.
They also have a financing program aimed specifically at women
entrepreneurs. You can learn more about the Business Development
Bank of Canada (BDC) and its financing resources at www.bdc.ca.
The Canada Small Business Financing Program is much like the SBA 7(a)
Loan Program mentioned earlier in this section. The maximum amount
you can borrow is $500,000, and no more than $350,000 can be used
for purchasing leasehold improvements, improving leased property or
purchasing or improving new or used equipment.The CSBFP works
with lenders across the country to offer loans at 3% above the lender’s
prime lending rate. To find out more, visit www.ic.gc.ca/eic/site/csbfppfpec.nsf/eng/h_la02855.html.
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Grants for Writers and Publishers
For writers and small publishers in Canada, there are several grant
programs available that provide a variety of funding options.
The Canadian government offers funding at both the federal and
provincial level to support the work of Canadian authors and
development of the publishing industry in Canada, though some
of these awards require you to have been in business for a minimum
period of time. For more information, visit the Association of Canadian
Publishers website at www.publishers.ca (click on “resources,” then
“get published”, and “writing/publishing grants”).
3.6 Choosing Your Location
Before you can decide where to locate your business, you have to
determine what functions you need your work space to serve. Take
into consideration what tasks you will need to do in your office.
Consider whether you will be storing large quantities of your books
on the premises and how much of your own order fulfillment you will
be doing. Most experts recommend outsourcing this task, but even
so, you’ll need to keep some books handy to bring along to signings,
speaking engagements, and for review copies to send out to the media.
You may also choose to handle orders received directly through your
website (though you can farm this out to your distributor as well if you
prefer). You will also need to consider if you have enough space to store
documents and other materials, and space for future employees or
partners to work if you decide to expand your publishing operations.
If you’re planning to start small, perhaps with one or more selfpublished titles, then a home office is the most economical place for you
to establish your business. Many solo self-publishers choose to keep
their office in their home for the long term.
Working from Home
For many people, the biggest benefit of working from home is the end
of the commuter lifestyle, greater freedom, and the ability to spend
time with family. Another benefit for eligible businesses is that you can
deduct from your income taxes a percent of your mortgage payment
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and property taxes (or rent) and a share of utilities and maintenance
costs.
Another benefit for eligible businesses is that you can deduct from
your income taxes a percent of your mortgage payment and property
taxes (or rent) and a share of utilities and maintenance costs. There are
various methods to make those calculations, but by far the easiest –
and most acceptable to the IRS – is to use an entire room, and to use it
for no other purpose. In the U.S., IRS Publication 587 has information
on how to compute the calculation and file the deduction. You can
download this information by visiting the IRS website and searching
for the publication numbers from the search engine on the front page.
At the time of publication of this guide it was available online at www.
irs.gov/pub/irs-pdf/p587.pdf.
The other thing you should check before deciding on an office at home
is local zoning. Most places won’t have a problem with a home-based
business that adds only a few cars a day to the automobile load on your
street. Most will, however, prohibit you from posting a sign in your
front yard, which is okay anyway, as you will not want local would-be
authors peering through your windows, manuscript in hand. To find
out the rules in your area, look up “zoning” or “planning” on your
municipal website.
In addition to any legalities, working from home requires some
planning with family members. Set regular office hours that you will
insist on, both for your own focus and to keep family members from
intruding when you need to work. It will be tempting for the family to
interrupt you. So make it clear you are at work unless it’s an emergency.
(The garage on fire is an emergency; needing to know where the cookies
are is not.)
Office Space
While a home office works well for many small-scale independent
publishers, others prefer to rent a separate space. If you find it
challenging to stay motivated, or tend to get easily distracted when
you’re at home, an office may be just what you need to help you focus
on business. A separate space also creates a better impression if you
plan to have people visit you. If you want a place to meet with authors
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and agents, or work with employees, you might want to consider
getting an office outside your home.
If you decide to rent space, start by determining what your requirements
are. Look for a place that is convenient to get to from your home, and
that gives you quick access to any services you may need. You can use
the checklist below as a starting point.
If you want the appearance of a professional office space, but cost is
an issue, consider shared office space in a business center or executive
suite. These facilities are typically furnished offices that provide you
with receptionist and mail services. They may also offer photocopiers,
printers, Internet access, and conference rooms that you can use for
client meetings. Do a Google search for your city and “office space”,
“shared office space”, “business center” or “executive suite”.
Coworking Space
Another trend that has been gaining in popularity over the last few
years as the number of telecommuters and freelancers in the workforce
continue to grow is a concept called “coworking”. Similar to a business
center or executive suite in that the facilities and conference rooms are
shared, coworking arrangements typically place a greater emphasis
on community, support, sustainability, and collaboration. Coworking
spaces have traditionally been popular among those in creative
industries, though in recent years have expanded their reach and
appeal.
The goal of coworking is not only shared costs, but also providing
motivation, accountability, a team environment, and avoiding the
isolation that can come with working alone at home or even in a rented
executive suite. Many of these spaces offer a range of prices, from
several hundred dollars for a permanent desk, locking cabinet drawer,
and unlimited access, to the flexibility of shared desks and “drop-in”
rates of $10 to $20 a day. The following Mother Jones article, “Practical
Values: Works Well With Others,” offers some additional insights into
the concept of coworking: http://motherjones.com/politics/2008/01/
practical-values-works-well-others. Check out these sites for more
information on finding a coworking space near you:
http://wiki.coworking.org
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http://coworking.com
https://groups.google.com/forum/#!forum/coworking
Office Space Checklist
Will this be an easy commute for me? (You don’t want to have
to battle traffic to and from work every day if you can avoid it.)
Is the neighborhood or district safe? (You want to feel
comfortable in your office.)
Is the parking area lit well? (Drive by at night and look at the
lighting. You don’t want to have to walk to your car in the dark.)
Is the parking convenient for my me and anyone else who will
be visiting the office, such as authors or employees? (A long
hike may seem like a good idea in the nice weather, but you
may feel differently later.)
Is there space for growth? (You don’t want to have to move to a
bigger office next year.)
Can I afford it? (You’ll want to read your lease agreement
carefully, and crunch some numbers in your budget before you
agree.)
3.7 Legal Matters
3.7.1 Your Business Legal Structure
Your business structure affects the cost of starting your business, your
taxes, and your responsibility for any debts the business incurs. This
section will highlight the several different legal forms a business can
have. There are four basic structures: sole proprietorship, partnership,
corporation (including the S corporation), and limited liability company
(LLC).
Sole Proprietorship
If you want to run the business yourself, without incorporating,
your business will be known as a “sole proprietorship.” This is the
least expensive way to start a business. It is also the easiest because
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it requires less paperwork and you can report your business income
on your personal tax return. All you need to do is apply for an
occupational business license in the area where your business will be
located. Usually, the license doesn’t take long to be processed and you
can begin operations fairly quickly.
If you’re running the business by yourself, your social security
number can serve as your taxpayer identification number. If you have
employees, you’ll need to request a taxpayer identification number
from the Internal Revenue Service.
A sole proprietorship means that you have almost total control of the
business and all the profits. The only drawback to this type of business
is that you are personally liable for any debts of the business.
Advantages
• Easy to start
• Low start-up costs
• Flexible and informal
• Business losses can often be deducted from personal income for
tax purposes.
Disadvantages
• Unlimited personal liability: the sole proprietor can be held
personally responsible for debts and judgments placed against
the business. This means that all personal income and assets, not
just those of the business, can be seized to recoup losses or pay
damages.
• All business income earned must be reported and is taxed as
personal income.
• More difficult to raise capital for the business
• Sole proprietorships are extremely common and popular among
small business owners — mostly because they are easy and cheap
to start with the least amount of paperwork.
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Partnership
If you want to go into business with someone else, the easiest and least
expensive way to do this is by forming a partnership. Legally, you
would both be responsible for any debts of the company and you would
enter into something called a partnership agreement. There are two
types of partnerships: general partnerships and limited partnerships.
A general partnership is when two or more people get together and
start a business. They agree on the conduction of the business and how
the profits, risks, liabilities and losses will be distributed between them.
TIP:
Partnerships don’t have to be divided equally between all
partners. However, all partners must agree on how the
profit, risk, liability and loss will be divided.
A limited partnership is when one or more partners invest in the
business, but are not involved in the everyday operations. Limited
partners are investors — partners — but they have limited say in the
hands-on operations.
Partnerships usually have more financial clout than sole proprietorships
— a definite advantage — simply because they have more in the way
of assets than a single person. Another advantage to a partnership is, in
an ideal situation, you and your partner will balance out each other’s
strengths and weaknesses. On the other hand, many businesses have
gone bad because of an ill fitted partnership.
You must register your partnership with a corporate registry. This does
not mean that you must incorporate, only that you are making a formal
declaration of entering into business with another person or persons.
Be sure to consult your local business registry and a lawyer specializing
in business registry. The primary purpose for doing this is for each
partner to protect himself or herself concerning issues such as sharing
profits, liability and dissolving the partnership equitably.
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Working with a Partner
Beyond any legal issues, before going into business with a
partner you should spend many hours talking about how you
will work together, including:
• What each of you will be responsible for.
• How you will make decisions on a day-to-day basis.
• What percentage of the business each of you will own.
• How you see the business developing in the future.
• What you expect from each other.
During your discussions you can learn if there are any
areas where you need to compromise. You can avoid future
misunderstandings by putting the points you have agreed
on into your written partnership agreement that covers any
possibility you can think of (including if one of you leaves the
business in the future).
Below are some of the advantages and disadvantages to partnerships:
Advantages
• More initial equity for start-up costs
• Broader areas of expertise can lead to increased opportunities
• Lower start-up costs than incorporation
• Some tax advantages
Disadvantages
• All partners are equally liable for the other’s mistakes with the
same liability as a sole proprietorship.
• Profits and losses must be shared.
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• The business must be dissolved and reorganized when a partner
leaves.
Corporation
Whether you are working alone or with partners, if you want a
more formal legal structure for your business, you can incorporate.
Incorporation can protect you from personal liability and may make your
business appear more professional.
Incorporation of a business means that a separate, legal corporate
entity has been created for the purpose of conducting business.
Like an individual, corporations can be taxed, sued, can enter contractual
agreements and are liable for their debts. Corporations are characterized
by shareholders, a board of directors and various company officers.
As such, ownership interests can be freely transferred.
Creating a corporation requires filing of numerous documents to
legalize your publishing business, as well as formally naming a
president, shareholders, and director(s), all of whom can be a single
person as set out in the company charter. As the rules and forms
required for incorporation vary from state to state and province to
province, it’s best to consult your local business licensing office or a
local lawyer specializing in incorporation.
While it is probably best to seek legal expertise when incorporating, if
you have the expertise and knowledge, you can incorporate your own
business or use one of the many online resources that specialize in these
matters. Here are a few websites offering such services, often for only a
couple of hundred dollars:
• BizFilings
www.bizfilings.com
• The Company Corporation
www.incorporate.com
• MyCorporation
www.mycorporation.com
• Form-a-Corp, Inc.
www.form-a-corp.com
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Here is a list of some of the advantages and disadvantages to
incorporating your business.
Advantages
• Protect personal assets and income from liability by separating
your business income and assets from your personal.
• Corporations get greater tax breaks and incentives.
• Ownership can be sold or transferred if the owner wishes to retire
or leave the business.
• Banks and other lending institutions tend to have more faith in
incorporated businesses so raising capital is easier.
Disadvantages
• Increased start-up costs
• Substantial increase in paperwork
• Your business losses cannot be offset against your personal
income
• Corporations are more closely regulated
S Corporation
The IRS offers a provision, called an S corporation, where a corporation
can be taxed as a sole proprietorship. An S Corporation is similar to
the corporation in most ways, but with some tax advantages. The
corporation can pass its earnings and profits on as dividends to the
shareholder(s).
However, as an employee of the corporation you do have to pay
yourself a wage that meets the government’s reasonable standards of
compensation just as if you were paying someone else to do your job.
Unless you want to wind up paying both a personal income tax and a
business tax, you will probably want to create an S corporation. This
saves you money because you are taxed at an individual rate instead of
a corporate rate.
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Limited Liability Company
A Limited Liability Company, or LLC, is a relatively new type of
business legal structure in the U.S. It is a combination of a partnership
and a corporation, and is considered to have some of the best attributes
of both, including limited personal liability.
A limited liability company is legally separate from the person or
persons who own it and offers some protections that a partnership
does not. Partners in a limited liability company get the same personal
financial protection as those in a corporation.
The LLC business structure gives you the benefits of a partnership
or S corporation while providing personal asset protection like
a corporation. Similar to incorporating, there will be substantial
paperwork involved in establishing this business structure. LLCs have
flexible tax options, but are usually taxed like a partnership.
Here are some of the advantages and disadvantages of LLCs:
Advantages
• Limited liability similar to a corporation
• Tax advantages similar to a corporation
• Can be started with one (except in Massachusetts) or more
members like a sole proprietorship or partnership
Disadvantages
• More costly to start than a sole proprietorship or partnership
• Consensus among members may become an issue
• LLC dissolves if any member leaves
Regulations regarding limited liability companies vary from area to
area. Make sure you do your homework if this interests you.
In the end, choosing a business legal structure for your company is a
personal choice, and the advantages and disadvantages should be
considered thoroughly. Many small business owners begin their
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independent venture as a sole proprietorship because of the low costs,
and incorporate as the business grows and becomes larger and more
complex.
For more information about business structures take a look at
the resources available at FindLaw.com. The direct link is http://
smallbusiness.findlaw.com/incorporation-and-legal-structures.
For some additional government resources to help you decide
which structure to choose in the U.S., try the Small Business
Administration. Visit www.sba.gov/starting-business/choose-yourbusiness-structure. In Canada, visit the Canada Business site at
http://canadabusiness.ca/starting/before-starting-your-business/
corporation-partnership-or-sole-proprietorship.
3.7.2 Business Licenses
Regardless of what form of legal structure you choose for your
business, you’ll need to obtain business licenses. This is not a difficult
task. All it normally entails is filling out some forms and paying an
annual license fee. Contact your city or county clerk’s office for more
information about registering your business. Additional information
and contact details can be found through the website of your local city
hall or county clerk, or at sites such as sba.gov/business-guide/launchyour-business/apply-licenses-permits.
There may also be a number of other permits and licenses you will
need:
• EIN (Employer Identification Number ) from the IRS or a
BN (Business Number ) in Canada. All businesses that have
employees need a federal identification number with which to
report employee tax withholding information.
• Your city hall should be able to tell you if you need a special
license to work from home (may be known as a home occupation
license) and, if so, where to get it. In many communities, to obtain
a license to work at home you will need to fill out a form, provide
your business name and phone number, and give some details
about the nature of your business. Most questions on the form are
designed to detect and deter people who will be a nuisance or a
risk to their neighbors, and may not apply to you.
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If you will be selling books directly to customers, retail businesses
that collect sales tax must be registered with their state’s Department
of Revenue and get a state identification number. To find your state’s
revenue agency, visit the Internal Revenue Service’s webpage at
www.irs.gov/Businesses/Small-Businesses-&-Self-Employed/StateLinks-1. Once you’ve reached your state’s revenue agency website, look
for a “Businesses” or “Small Business” link and then a “Sales or Other
Use Taxes” link (or something similar). Some websites also provide
an obvious “Sales Tax Exemptions” link or something similar. Also,
the Tax Foundation provides information on a state-by-state basis for
personal, sales and other taxes at www.taxfoundation.org.
In Canada, the process is a bit different. Canadian provinces (with the
exception of Alberta) have a provincial sales tax (PST) that must be
collected along with the Goods and Services Tax (GST) by retailers when
customers make purchases. Several provinces have a Harmonized Sales
Tax (HST), which is a blended sales tax including both PST and GST.
In most provinces, retailers must pay the GST on wholesale purchases
and then these amounts are subtracted from GST payments made to
the federal government.
In provinces with a sales tax separate from the GST, you will need
to apply for a purchase exemption certificate and a PST registration
number. You will have to provide them with your business ID number
(obtained when you apply to the Canada Revenue Agency to collect
GST) and they will send you the certificate. In provinces with the
blended HST, you will pay the HST on all goods you purchase for your
business, just as retailers in other provinces pay the GST on wholesale
purchases. To learn more, visit your province’s revenue ministry
website. In Canada, consult the Canada Business Network pages found
at http://canadabusiness.ca/government/taxes-gst-hst.
In Canada, business licenses are issued at the municipal level so check
with your local municipality for help with acquiring a business license.
For a province-by-province list of Canadian municipalities and their
websites, visit the BizPal website at www.bizpal.ca/part_partners.
shtml. Many municipalities offer business license applications right
on their websites. For information about licensing and regulations for
businesses in Canada, check out the “Permits and Licenses” page at the
Canadian Government’s Canada Business Services for Entrepreneurs
site at http://canadabusiness.ca/government/permits-and-licences.
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3.7.3 Taxes
If you are properly informed and prepared you won’t have to face
your tax responsibility with a feeling of dread. In fact, once you are
organized and you have enlisted the help of a good tax professional,
taxes become just another regular business task.
Get Informed First
The best thing you can do to be sure of your personal and business tax
obligations is to find the information you need before you start your
new business. The Internal Revenue Service (IRS) has a number of
informative documents online that you can look at today to learn the
basics about everything you need to prepare for your taxes as a small
business owner. If you read these documents and understand them,
you will have no surprises at tax time.
One helpful document is the Tax Guide for Small Business that outlines
your rights and responsibilities as a small business owner. It tells you
how to file your taxes, and provides an overview of the tax system for
small businesses. You can find this document at www.irs.gov/pub/irspdf/p334.pdf. For more general information for small business owners
from the IRS visit their website at www.irs.gov/businesses/smallbusinesses-self-employed.
For Canadian residents, the Canada Revenue Agency also provides
basic tax information for new business owners. This includes
information about the GST, how to file your taxes, allowable expenses
and so on. You can find this information and more helpful documents
at www.cra-arc.gc.ca/tx/bsnss/menu-eng.html.
It is also important to be informed about your tax obligations on a state
and local level. Tax laws and requirements vary on a state-by-state
basis and locally, too. Make sure that you find out exactly what you are
responsible for in your state and city. In addition, it is important to find
out about sales tax in your area.
The Tax Foundation provides information on a state-by-state basis
for personal, sales and other taxes at www.taxfoundation.org.
In Canada, consult the Canada Business Network pages found at http://
canadabusiness.ca/government/taxes-gst-hst.
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Getting Assistance
If you decide you would prefer a qualified tax professional to help
you handle your taxes, you will find you are in good company. Many
small business owners decide to have a professional handle their taxes.
An accountant can point out deductions you might otherwise miss and
save you a lot of money.
Once you’ve determined what your accounting needs are you may be
able to find a professional accountant at the Accountant Finder website
(www.accountant-finder.com). This site offers a clickable map of the
United States with links to accountants in cities across the country.
Alternatively, the Internet is a good place to find listings for accountants
in your area.
You will also need to understand payroll taxes if you plan on hiring
employees. Each new employee needs to fill out paperwork prior to
their first pay check being issued. In the U.S. this will be a W-4 and an
I-9 form. In Canada, the employee will have to complete a T-4 and fill
out a Canada Pension form.
Both the W-4 and the T-4 are legal documents verifying the tax
deductions a new employee has. The amount of tax you will withhold
as an employer varies and is based on the required deductions an
employee has as specified by the federal government. Make sure you
retain the forms in a folder labeled with their name and store them in a
readily accessible place such as a filing cabinet in your office.
Check with your state or province’s labor office to make sure you are
clear about all the forms employees must fill out in order to work
for you. The sites below give more information on legal paperwork,
including where to get blank copies of the forms your employees will
need to fill out.
• IRS – Employment Tax Forms
www.irs.gov/Businesses/Small-Businesses-&-Self-Employed/
Employment-Tax-Forms
• Canada Revenue Agency
www.cra-arc.gc.ca/forms
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3.7.4 Insurance
Insurance can help protect the investment you make in your company
from unforeseen circumstances or disaster. Types of insurance for a
retail business include:
Property Insurance
Property insurance protects the contents of your business (e.g. your
computer, your book inventory, etc.) in case of fire, theft, or other
losses. If you lease space, you may need property insurance only on
your own merchandise and equipment if the owner of the building has
insurance on the property.
Publisher’s Liability Insurance
General liability insurance (also known as Errors and Omissions
Insurance) protects a small business owner against loss if you are sued
for alleged negligence. It could pay judgments against you (up to the
policy limits) along with any legal fees you incur defending yourself.
While this type of all-purpose protection can be valuable for any type
of small business, in publishing there are additional potential legal
hazards (for both publishers and authors) that may require a more
specialized “media perils policy”.
Publisher’s liability insurance typically includes protection against
law suits relating to issues such as libel, slander, and copyright
infringement. Others may include personal injury protection (for
example, if someone injures themselves upon following advice offered
in a “how-to” book you have written or published), and protection
for publishers handling unsolicited material submitted to them by
authors. Specifics of coverage and cost vary widely among policies and
should be based on your individual situation, including the level of risk
assessed to the type of material you’re planning to publish. Be sure to
seek expert legal advice to determine your company’s needs.
Several of the professional associations mentioned in chapter 2 provide
discounts on publisher’s liability insurance for members, so these
organizations are an excellent resource. Attorney Ivan Hoffman also
offers a more detailed summary of publisher’s liability insurance
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protection here: www.ivanhoffman.com/insurance.html, and Lloyd J.
Jassin and Stephen C. Schecter’s book, The Copyright Permission and Libel
Handbook, is an invaluable legal resource for all small publishers and
authors.
TIP:
For some small businesses, getting a Business Owner’s
policy is a good place to start. These policies are designed
for small business owners with under one hundred
employees and revenue of under one million dollars. These
policies combine liability and property insurance together.
Small business owners like these policies because of their
convenience and affordable premiums. You can find out
more about these policies at the Insurance Information
Institute (www.iii.org/commerciallines/whatitdoes/types).
Car Insurance
Be sure to ask your broker about your auto insurance if you’ll be using
your personal vehicle on company business.
Business Interruption Insurance
This insurance covers your bills while you are out of operation for
a covered loss, such as a fire. This type of insurance covers ongoing
expenses such as rent or taxes until your business is running again.
Life and Disability Insurance
If you provide a portion of your family’s income, consider life
insurance and disability insurance to make certain they are cared for
if something happens to you. If you become sick or otherwise disabled
for an extended period, your business could be in jeopardy. Disability
insurance would provide at least a portion of your income while you’re
not able to be working.
Health Insurance
If you live in the United States, will not be maintaining another job
that provides coverage, and aren’t covered under a spouse or domestic
partner’s health plan, you’ll need to consider your health insurance
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options. The Patient Protection and Affordable Care Act (PPACA) of
2010 established (www.healthcare.gov) as your primary resource to
obtain affordable health insurance.
Canadians have most of their health care expenses covered by the
Canadian government. For expenses that are not covered (such
as dental care, eyeglasses, prescription drugs, etc.), self-employed
professionals may get tax benefits from setting up their own private
health care plan. Direct Reimbursement Associates (www.draltd.com)
is an example of the type of financial planning company that can help
you set up your own private health care plan.
Notice that IAP Career College does not recommend a specific vendor
for your insurance needs. As always, do your own research before
making the choice which is right for you.
Association Member Policies
Some insurance companies offer discount pricing for members of
particular organizations. When you are looking for organizations
to join, whether your local Chamber of Commerce or a national
association, check to see if discounted health insurance is one of the
member benefits.
Workers’ Compensation Insurance
Most states and all provinces require that small business owners
who hire others carry workers’ compensation insurance. For more
about these obligations in the U.S., visit the Office of Workers’
Compensation Programs website at www.dol.gov/owcp. The link
for state by state information about employer obligations is “State
Workers’ Compensation Laws.” In Canada, visit the Association of
Workers’ Compensation Boards of Canada at http://awcbc.org for more
information.
More Information
There are other types of insurance and different levels of coverage
available for each type. An insurance broker (check online) can advise
you of your options and shop around for the best rates for you. You may
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also want to check out the National Association for the Self-Employed
(www.nase.org) which offers reasonably priced insurance plans for
self-employed people. The Rocky Mountain Insurance Information
Association has an information page on home-based business insurance
at www.rmiia.org/business/home_business_insurance.asp. And the
SBA offers a section on business insurance at www.sba.gov/managingbusiness/running-business/insurance. In Canada, visit the Insurance
Bureau of Canada at www.ibc.ca/on/business.
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4. The Publication Process
“Don’t cut corners. I suggest, if you have limited funds, you do
whatever it takes to put a good product out, including a quality edit,
a great cover, and a layout that is easy to read. If that means delaying
the launch, it’s worth it to do that. Get a day job to earn the extra
money, if you must, but don’t cut corners. It will only come back to
bite you.”
–
David Hooper,
MusicMarketing.com
Your market research is done, you have your financing, the legal issues
have been dealt with, and all the licenses are in place. You’re ready to
write your book or begin the process of searching for and reviewing
manuscripts for publication. In this chapter, we’ll look at the various
aspects of putting it all together, from working with literary agents and
hiring freelance editorial or design help through choosing a printing
method.
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Developing a Publication Timeline
While it can feel overwhelming to think too far ahead in the
process, it is important to have an overview of what’s involved
in the unique enterprise of producing a book from start to finish.
There are many intricacies and acronyms that can be confusing
and many puzzle pieces you must have in place before your book
is even printed, so planning ahead is key. This will help you to
make smart decisions as you set up your business structure and
operations. Sam Hendricks, self-publisher of multiple successful
books aimed at the fantasy sports enthusiast offers this caveat:
“One of the biggest challenges facing a new publisher is
making a publishing deadline. Deciding to publish on October
1 so it will be out in force by Christmas is a great idea, but
it is another thing to do it. Before you start the publishing
process, make a checklist with events to be accomplished and
the desired date. Make sure you understand the entire process
and plan for adequate slop time so that when the editing is not
returned on time it does not stall the entire project.”
—
Sam Hendricks, Publisher, Extra Point Press
A publishing timeline can be a great tool to help give you some
perspective. SPAWN, one of the professional associations for
independent publishers mentioned in Chapter 2, provides this
helpful timeline, which you can adapt for your own use: http://
spawn.org/publishing-your-own-book-a-timeline.
Keep in mind that your exact steps and timeframe may vary
somewhat from this basic model based on the type of book
you’re writing, or if you’re soliciting material to publish from
authors other than you, and how long the writing process takes.
It may also be impacted by the publication method you choose
(for example, if you choose to use a POD printer rather than
producing an offset print run up front , or if you’re producing
only e-books with no print component).
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4.1 Finding and Developing Material
for Publication
“Pick projects that speak to you – in other words, trust your gut. The
worst thing is taking on a book project because you’re hungry, then
realizing it isn’t the right fit.”
—
Kimberley Debus, Mélange Press
Understanding the practical aspects of running a book publishing
business is important, but in order to be successful you have to start
with great content. Finding (or writing) a manuscript that suits your
company’s niche and mission and is marketable can take a little (or a
lot!) of work, but once you have a clean, edited manuscript in hand, the
thrill of publishing your own books will be that much closer!
4.1.1 Writing Your Own Books
In addition to the joy of seeing your own work in print, publishing
books you have written benefits a new publisher by helping to
keep start-up costs low. It also eliminates the need to deal with the
complexities of author contracts and royalties, all of which require
more extensive legal advice and a more structured accounting system.
The process of writing a book may seem daunting and time consuming,
and it can be – make sure you have a reasonable assessment of how
fast a writer you are and budget enough time for the research and
writing process. But another benefit of being the author in addition to
the publisher is that you maintain complete control over your schedule
and can link your editorial and marketing calendars. Deadlines in the
publishing industry can be notoriously “flexible” and you may find
your marketing plan for the holiday season out the window if an
outside author needs more time than expected to deliver a finished,
publishable manuscript.
We have already covered the subject of choosing a niche and conducting
market research in chapter 3, as well as the challenges of publishing
fiction versus nonfiction. Reviewing these sections should help give
you some insight into choosing your first book topic.
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It is beyond the scope of this guide to teach you the details of how
to write a book. The methods that work well for one writer won’t
necessarily work at all for another, and what makes a book “good” is
at least in part a matter of personal taste. Getting feedback from your
editor will help you enormously in terms of content and organization
by giving you a fresh perspective on your work. Hiring a good
proofreader will help ensure your manuscript is grammatically and
typographically error-free. You’ll learn more about working with
freelance editors and proofreaders in section 4.2.2. We’ll focus here on
a few general questions you can ask yourself as you begin your writing
journey, be it a fiction or nonfiction title, to help keep you on track:
• Is the topic you have chosen for your book compelling enough
to hold a reader’s attention (not to mention yours) for several
hundred pages?
• Does your book’s topic potentially lend itself to developing into a
series? It doesn’t have to, but start thinking about this possibility.
• Is the book’s tone and language consistent with your target
market? For example, if it’s a children’s book, does it use gradelevel appropriate language? Does your subject matter lend itself
to a conversational style, or something more academic or formal?
• Does the language avoid scientific jargon, slang, or popular
culture references that could make the material seem dated by
the time it hits the shelves or soon thereafter?
• If the book is meant to be educational, does it contain a balance
of facts with personal “human interest” anecdotes to illustrate by
example?
• Is the subject matter dry or does it have an emotional or inspiring
component to it? On the flip side, if it is extremely personal or
emotional to you, how will you feel about others reading it or
being interviewed about it?
• If the book contains humor, is it the type of humor that will
appeal to your niche and translate cross-culturally (especially if
you’re planning to try to sell international rights)?
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• Is the content well-organized and will the order of presentation
make logical sense to a reader who knows nothing about the
topic?
• For mainstream fiction, is the book well-paced and does it have a
clear narrative including conflict and resolution?
• For nonfiction, have you checked and double-checked all your
facts and quotes to ensure they’re accurate and obtained any
necessary permissions?
There are plenty of excellent resources out there for those interested in
honing their writing, research, or interviewing skills, or learning about
subjects such as plotting, pacing, and character development. You
will find several excellent web sites and books recommended in the
Resources for Self-Study section of this guide in chapter 2, as well as tips
on where and how to find formal educational programs.
In addition to online communities, it can also be useful to join a
local in-person writers group, where you’ll generally find a supportive
atmosphere for discussion and feedback on your work, and help
staying accountable for deadlines. Check out www.meetup.com to find
(or start) a group near you. Simply type in “writers” or “writing” and
your zip code to search for one. And if you’ve got a great idea for a
book, and the expertise in the field, but lack the writing ability, you
might also consider hiring a ghostwriter or a collaborator. We’ll discuss
this further in the next section on work for hire arrangements.
4.1.2 Working with Authors and Literary Agents
“Certainly the passion to create books that communicate a message that
resonates with readers, diplomacy and the ability to create fair and legal
contracts are necessary if a publisher is to work with outside authors.”
—
Florrie Binford Kichler, President, IBPA, and Publisher,
Patria Press
There is considerably more planning and negotiating involved when
it comes to working with outside authors. “A manuscript acquisition
strategy is necessary along with an adequate planning horizon, as
outside authors may require more time to deliver a finished product,”
warns Kichler, an Indiana-based publisher who was recently named
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among the Top 50 women in book publishing by Book Business
Magazine.
If you’re interested in publishing the original work of other authors,
you’ll find no shortage of writers hungry to see their work in print.
But finding a manuscript that meets your publishing needs is just the
beginning. After you’ve crunched the numbers regarding the book’s
production costs and potential profit (this is called a ‘title profit and
loss statement’, or more commonly a ‘Title P & L’ for short – more on
what goes into this in section 5.4.2) and determined it’s a good fit for
your list, consider the human factor. As a beginning book publisher
with a small list, it’s equally important, and challenging, to choose
work by an author you feel comfortable working with and promoting.
Finding Marketable Authors
“When working with authors, first and foremost, whether fiction
or non-fiction, I seek quality manuscripts. I want excellent research,
excellent use of writing skills, interesting topics, a writer who takes
suggestions for improvement as constructive criticism, and especially
a marketing plan.”
—
Leland F. Raymond, Publisher, CyPress Publications
In addition to seeking material about which you feel passionate,
remember that the author is also one of your best marketing tools.
What credentials, contacts, and insider knowledge do they have that
may help you to market and sell their book? Are they well-spoken and
professional? Do they already have an author website? If so, what kind
of traffic are they generating? Are they outgoing in a crowd of people
they don’t know?
None of these things are prerequisites for a successful book, but these
traits can help the author promote themselves and their books through
interviews or in-person promotional appearances. And, it’s helpful to
know your authors’ areas of strength and weakness so your marketing
campaign can play to their strengths. For example, a more introverted
author may freeze up at a crowded book signing or public presentation,
but may be fantastic with a one-on-one radio or print interview or
writing a blog. See chapter 6 for advice from a publishing PR and
marketing pro on how to prepare your authors for the media.
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Publisher Linda Radke of Five Star Publishing, named “Book Marketer
of the Year” in 2006 by Book Publicists of Southern California, also
suggests looking for authors with a “built-in market” who regularly
hold seminars or give presentations and workshops in their field. “They
need thousands of books each year,” says Radke. While they may not
be experienced authors, they already have a following and perceived
expertise in their field, which goes a long way with readers.
Submission Guidelines
“I’ve found that authors who belong to writers’ organizations and/or
critique groups submit the best manuscripts. Generally, they’ve spent
time learning the business and what’s required of them as authors,
and that makes them easier to work with.”
—
Leland F. Raymond, CyPress Publications
One of the first decisions you’ll need to make before you begin
soliciting material is whether you will request an initial query letter
and sample chapters or outline from prospective authors, or whether
you want to accept complete unsolicited manuscripts. Many publishers
do not accept unsolicited manuscripts due to the volume of reading
this would create, as well as the potential legal liabilities involved in
having possession of someone’s creative work without benefit of a legal
contract protecting both parties. If you do decide to accept unsolicited
manuscripts, be prepared to see it all – sure, you may find a diamond
in the rough, but you might also be surprised at the work some new
writers will consider professional quality.
Instead you may choose to request any or all of the following from the
author in order to make an informed decision about the potential of a
manuscript for publication by your company:
• Query letter describing the project and intended audience
• Author bio including any expertise that qualifies them to write
the book and a list of previous publishing credits
• Sample chapters and outline
• List of competitive book titles and how theirs differs
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• Book proposal (typically only acceptable from authors with a
track record of completed books, not a first time author)
• Marketing plan, including any endorsements from prominent
individuals
Be sure to specify the type of material you’re looking for (and not
looking for!) and indicate a word count range if you choose to review
complete manuscripts. Your manuscript submission guidelines can be
posted on your website, LinkedIn writers groups, and advertised in the
various print and online databases for writers. One of the best places to
list your request for manuscripts is Writer’s Market, a respected online
(www.writersmarket.com) and print reference widely used by writers
seeking outlets for their material. Per www.writersmarket.com/Faqs.
aspx: “I’m a publisher and my company is not listed. How do I get listed
in WritersMarket.com? Contact our editorial department and we’ll send the
appropriate form to add a listing. Please include your mailing address in your
message,” you should visit www.writersmarket.com/ContactUs.aspx.
Work-for-Hire
Another option, which allows you to retain more control of your
content as well as all of the rights attached, is to commission a writer to
author a book. This is a particularly good option if you have a specific
idea for a book topic, but don’t have the writing or research abilities
to do it justice, or would rather spend your time on other tasks like
marketing. You can hire a freelance writer with expertise in the area of
your book topic and pay them a flat fee to complete a project to your
specifications.
There are several pluses to work-for-hire arrangements. First, it
simplifies the contractual negotiations and makes your author expenses
more predictable since you will not have to pay royalties on sales. The
author is paid the same flat rate upon completion of the assignment
and fulfillment of the terms of your contract no matter what the book
sales are. Second, it allows you to generate books of whatever nature
you choose rather than waiting for the right manuscript to come along.
Of course this arrangement may work to your advantage or
disadvantage depending on how well the book sells. If it does well, you
don’t have to share the profits with the author. If it doesn’t perform as
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well as you’ve predicted, however, you will be out whatever amount
you’ve paid the author up front. Another potential issue is that many
experienced writers are not willing to accept a flat fee arrangement
because it’s typically more favorable to the publisher than the author.
However, you’ll find many less experienced writers looking to build
their credentials – perhaps even experts in the topic of your book – who
will gladly accept a work-for-hire agreement to gain writing experience
and publication credits.
Ghostwriters and Collaborators
As a subcategory of work-for-hire agreements, if you have a personal
story to tell but lack the writing ability, you can hire a professional
ghostwriter to give voice to your story. In most cases ghostwriters
maintain anonymity while you are credited as the writer. In other
instances, an “as told to” or “written in collaboration with” credit may
be given, but you own the copyright to the work. Ghostwriters usually
have considerable writing and publishing experience and you should
look for someone with knowledge of or credentials in your subject area,
as well as excellent interviewing skills, and strong references. The cost
will vary depending on the writer’s level of experience and the scope
of your project.
You can begin your search for a ghostwriter or collaborator through the
Editorial Freelancers Association member database (www.the-efa.org/
dir/search.php). Other organizations to consider contacting include the
ghostwriters collective Ghostwriters Ink (www.ghostwriters-ink.com),
and Independent Editors Group (IEG), which consists largely of editors
with extensive backgrounds at the major publishing houses who take
on freelance projects, including ghostwriting and collaboration (www.
bookdocs.com).
Literary Agents
“The role of the literary agent has changed. Agents do need to act
more as a surrogate to the houses in terms of assisting their clients
to outline the market and promotional “platform”. And the best
relationship that an editor will have with their authors is one that can
be firmly focused on the content and creativity of the project, while
the agent manages all the business aspects of the work.”
—
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If you are running a solo operation and don’t have the time to invest
in wading through unsolicited submissions, one option is to develop
a relationship with one or more literary agents. A good literary agent
typically makes it their business to know exactly the type of material
each publisher is looking for and will have done the initial prescreening process for you. You can generally expect the quality of a
proposal or manuscript to be higher when coming from an agent.
An agent will generally expect to see some sort of track record before
they’ll begin sending material your way -- most experts agreed that you
should have published at least a few books before approaching them.
However, you needn’t be Simon & Schuster to get a literary agent’s
attention. On the contrary, many agents are willing to work with a small
independent company that can offer personal attention to their authors,
even if you don’t have a big budget to work with. A niche publisher
may also prove to be a better fit for a very specialized title.
Working with an agent also ensures that you are dealing with someone
who is knowledgeable about the business of publishing. They can serve
as a buffer between you and the author, ensuring smoother contract
negotiations and managing author expectations. There is a downside to
working with agents, however – the main concern for many publishers
being that there is no industry regulation. Anyone can hang out their
shingle and call themselves an agent, and there are many stories of
unscrupulous agents taking advantage of unsuspecting writers and
charging fees for their services.
If you are interested in finding potential agents to work with, you can
begin by searching the free database available online at AgentQuery,
which allows you to search by genre, as well as by keyword: www.
agentquery.com. This website also offers a list of tips on how to avoid
scammers – just as important for the publishers dealing with the agent
as for the writer since you want to protect your reputation. Looking
for membership in the Association of Authors’ Representatives is a
good start, but not a guarantee. Remember, a legitimate agent always
earns their money through sales commissions (15% is standard), not
by charging writers fees. You can also find a list of agents in the current
edition of Literary Marketplace, available in the reference section at most
public libraries.
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For more information on finding and working with a literary agent,
check out:
• www.writersmarket.com/cms/open/agent
• www.writersdigest.com/editor-blogs/guide-to-literary-
agents/11-steps-to-finding-the-agent-wholl-love-your-book
• www.sfwa.org/real
• www.forbes.com/sites/nickmorgan/2013/10/29/thinking-of-
writing-a-book-heres-what-you-need-to-know-3
• www.edwardsbrothersmalloy.com/blog/top-sites-find-literary-
agent
4.1.3 Previously Published Work
Another potential source of material for new publishers who do not
wish to write or purchase original material, is to seek reprint rights
to a previously published but out of print title, or to purchase English
language rights to a title from a foreign publisher. Among the benefits
of both of these methods is that the books may already have a builtin following among readers who remember the original edition, or
are familiar with the non-English language version. You’ll also have
some idea of how the book performed originally and how it may have
been marketed. Another benefit to this approach is that the book has
already been edited and formatted, which saves you the added time
and expense.
Finding Copyright Owners and Public
Domain Material
Once a book goes out of print, the rights usually revert back to the
author or their heirs, and in most cases these folks are happy to
cooperate when a new publisher shows interest in getting their work
back on the shelves. You’ll likely be able to negotiate a good deal, though
it may take some Nancy Drew work on your part to track down the
correct parties. Seeking permissions can be a time-consuming prospect.
If you’re not sure who owns a particular copyright, a good place to
begin your search is http://cocatalog.loc.gov/cgi-bin/Pwebrecon.
cgi?DB=local&PAGE=First. You can learn more in Lee Wilson’s book
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Fair Use, Free Use, and Use by Permission: How to Handle Copyrights in All
Media.
Speaking of Nancy Drew, sometimes looking to the books you loved
as a child can be an inspiration as you begin your publishing journey.
One of our experts, Florrie Binford Kichler, took her childhood love of a
particular series of books a bit further. Kichler is not only the president
of the Independent Book Publishers Association, but also founder of
a successful company called Patria Press (www.patriapress.com),
publisher of the Young Patriot Series.
The books, which portray the childhood adventures of famous
Americans throughout history, are reprints of a previously out of print
series, originally published beginning in 1932. In an interview with
AbsoluteWrite.com, Kichler recalled poring through these as a young
child, beginning with the story of a young Amelia Earhart, while
recovering from an extended illness. After a great deal of research,
including calling librarians in the original authors’ hometowns to
try to track down the rights to some of the books, Kichler was able
to reprint many of the books from this series, which fits clearly with
her publishing mission. Read the inspiring interview about her journey
here: www.thereadingtub.com/displayAuthor.php?id=43.
Another option, which eliminates the involvement of the author and
need to pay royalties altogether, is to choose to reprint a title with rights
that have fallen into the public domain (that is, available to anyone as
all the copyrights have expired). The drawback here is you’ll likely
be competing with at least several other versions of the same work,
including many free versions, so you’ll need to do something to make
yours stand out (e.g. new illustrations, an introduction written by
someone well-known, or even a change in the book’s title). Even so,
you may have difficulty getting booksellers to take notice if you choose
to go this route, so be sure it’s a title or series of titles you have a real
passion for and ability to market, and that it is not just a seemingly
expedient means to an end.
Once you’ve determined copyright ownership, there are many websites
where you can search for and obtain copies of out of print titles,
including www.bookfinder.com.
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Translations
Translations are English language versions of books already published
in another country and another language (or conversely, you may
attempt to sell your original English language works to a foreign
publisher as well; see section 4.1.5 on subsidiary rights). Once you’ve
purchased the English language rights to a title from the original
publisher, you can hire a professional to translate the work and
then publish it yourself. Expect to pay a writer upwards of $100 per
thousand words, however, for their translation work, which can get
pricey for lengthier books.
While most translations remain a difficult sell and don’t typically find
a large audience in the U.S., there is a growing market -- consider
the enormous recent international success of Swedish author Stieg
Larsson’s trilogy, beginning with The Girl With the Dragon Tattoo, for
example. New York Times bestseller, The Elegance of the Hedgehog by
Muriel Barbery is another example of a popular translation, originally
published in French.
Amazon has noted the potential in this market and launched
AmazonCrossing; see https://translation.amazon.com. This new
publishing arm focuses on acquiring the rights to popular international
works, hiring writers to translate them to English, and selling them
through Amazon.com and third party independent booksellers.
You can use Amazon’s international websites to research books that
are popular with readers overseas (of course it helps here if you speak
more than one language or know someone who does). You can find
links to all of Amazon’s international sites here: www.amazon.com/gp/
entertainment/international.
One of the biggest sources for finding non-English books is
Injuliternational Literary Marketplace, a global directory of over 10,000
publishers worldwide with up to date profiles and contact information,
available by subscription online at www.literarymarketplace.com.
In addition, if you are planning on attending any of the international
trade shows seeking to sell foreign rights to your own works, this
provides an excellent opportunity to meet with publishers who may be
looking to market their work in North America. Book fairs take place
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all across the globe. Some of the major and up and coming international
trade shows include:
• Frankfurt International Book Fair
www.book-fair.com/en
• Bologna Children’s Book Fair
www.bookfair.bolognafiere.it
• Tokyo International Book Fair
www.bookfair.jp/en
• Hong Kong Book Fair
www.hkbookfair.com/en/index.aspx
• Beijing International Book Fair
www.bibf.net
• London Book Fair
www.londonbookfair.co.uk
BookExpo America, while located in the U.S., is also attended by all
the major international publishers and is the largest of the trade shows.
You can learn more about trade shows and how to make the most of
them in chapter 6.
For a searchable database of translators and tips on how to choose the
right translator for your project, check out the American Translators
Association website at www.atanet.org/onlinedirectories. Canadian
authors can also visit the Literary Translators’ Association of Canada
at www.attlc-ltac.org, which primarily focuses on French-English
translations.
Anthologies and ‘Blooks’
As another alternative to publishing an original manuscript, you may
want to consider putting together an anthology of previously published
material to create a new collection around a specific theme or subject
– this might include short stories or nonfiction articles and essays
published in magazines.
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One upside to publishing articles or stories that have appeared in
another format is that they will already have gone through a review
and editing process, so this can save you some time and expense. The
drawback to this approach of course is the number of authors and
contracts you’ll have to juggle simultaneously, unless you’re reprinting
your own articles or stories.
Once you’ve decided on the theme for your anthology, seek out articles
or stories by experts in their field, preferably with an existing base of
contacts and followers, and previous publishing credits (you can get
a sense of this by reading the author bio that usually appears at the
end of articles, or by Googling the author’s name). Contact the author
to determine their interest, whether they’d like to expand on or edit
the content, and negotiate the rights and terms. An anthology needn’t
consist of reprinted articles – you can also solicit original articles or
stories from authors, or use a combination of previously published and
new material.
There has also been a growing trend over the last few years toward
publishing blog content in book form, sometimes called a “blook”. The
Julie / Julia Project (http://juliepowell.blogspot.com) by Julie Powell,
which of course became the popular film Julie & Julia in addition to
a book; The Happiness Project (www.gretchenrubin.com) by Gretchen
Rubin; and Frank Warren’s PostSecret (www.postsecret.com), are
among the more successful blog to book ventures.
Think about some of your favorite blogs – would publishing any of
them in book form take them to another level or potentially appeal to
a new audience? Does the blog or blogger already have a following
or background that could help you build a successful marketing
campaign?
If you’re looking for material, consider dropping your favorite blogger
an e-mail to discuss a collaboration. Keep in mind though, an endeavor
like this usually requires some additional development and editorial
work as writing for the web and writing a book are entirely different
animals.
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4.1.4 Contracts and Royalties
When working with authors, you will also need to formalize your
agreement regarding royalties, rights, and other issues. It is important
to have a standard author contract in place that clearly spells out the
terms of your relationship and stipulates the publication rights you are
seeking (for example, will your agreement include electronic rights?).
It is important to balance your needs and budget as publisher with
fairness to your authors. Your reputation is important and word gets
out quickly among writers (especially online) when authors feel they
are being taken advantage of. Your standard contract will need to be
modified on a case by case basis depending on the terms you and the
author or their representative have agreed upon. Contract negotiations
can be tedious, but it’s important to ensure that you and your authors
are legally protected in all respects.
When it comes to the terms of payment, it is always safest to
underestimate profit and overestimate expenses. Consider carefully the
financial terms you’re offering your authors and how this fits into your
budget. For example, will you offer a flat fee (see the earlier section
on work-for-hire arrangements)? Provide standard royalties? Or can
you afford to offer an advance to attract a particular author you want
to work with who may be in greater demand than someone who is
unpublished?
An advance is a sum of money paid to the author “in advance of
royalties.” In other words, you’re assuming money earned from book
sales will cover this payment, and then some. In an unpredictable
market, however, this can potentially represent a large expense that
may end up not being recovered. Many indie publishers do not provide
an advance for this reason, particularly when working with untried
writers. Royalties, on the other hand, are paid only on actual book
sales, so as publisher you do not have to figure this into potential outof-pocket expenses.
The majority of publishers pay royalties based on the net price of the
books sold. This is the actual amount earned by the publisher once
discounts and shipping costs are deducted. A smaller percentage of
publishers (generally more established houses working with name
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authors who have a strong track record) choose to offer royalties on the
list price of the book (also known as the “retail price”).
Author royalties typically range from 10% to 15% on a hardcover book.
The range for trade paperbacks is about 6% to 10% of the net, with
7.5% being about average. Authors may earn anywhere from 1% to 10%
royalty on a mass-market paperback, with 6% being about average.
Royalties may increase (for example, from 6% to 7%) after a certain
number of copies are sold.
Remember, all of these percentages can be negotiated. In fact,
everything in a contract is negotiable! If you’re dealing with a limited
budget, be creative and think about what else you might offer that
would be attractive to an author. Remember, while you may not have
the budget to compete with a larger house, you can appeal to some
authors and their agents by providing a more personalized “authorfriendly” experience, greater focus on the marketing of their work, and
even keeping their works in print longer, which gives them a greater
chance of increased royalty earnings.
You can review a sample of a standard book publishing contract
here: http://web.law.columbia.edu/keep-your-copyrights/contracts/
samples/11. A handy publishing contract checklist compiled by
well-known publishing and entertainment attorney Lloyd J. Jassin
can also be found on his website: www.copylaw.com/new_articles/
final.three.html. Additional information on publishing contracts can
be found in Kirsch’s Handbook of Publishing Law (refer to the Resources for
Self-Study section for details).
All of these sources can help you put together a publishing contract.
When it comes to your legal protection, however, do not cut corners to
save money by using a generic template without seeking the advice of
a professional -- be sure to have any legal documents reviewed by an
attorney with knowledge of the publishing industry, and of your
specific business requirements, to ensure the contract meets your
individual needs and the laws of your particular state or province.
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4.1.5 Subsidiary Rights
In addition to the primary book publication rights, whether publishing
your own work or that of another author, it is possible to generate
additional income streams based on this same work through sales of
subsidiary rights to third parties. This includes sales to other publishers
or producers – basically anyone who wants to license your content in a
new format.
Subsidiary rights may vary, but generally are considered to e compass
any area not covered by the initial book publication contract, such as:
• Film and television rights
• Merchandising rights
• Audio book rights
• Electronic rights
• Translation rights
• Mass-market paperback rights
• Magazine serialization rights
• Anthology rights
• Book club rights
• Performance rights
Publishing attorney Lloyd L. Rich offers an excellent analysis of
subsidiary rights on The Publishing Law Center website: www.publaw.
com/article/subsidiary-rights-acquisition-licensing.
When it comes to negotiating subsidiary rights, author and publisher
David Hooper warns that an inexperienced publisher can easily get in
over his or her head and suggests securing the services of a professional
(an agent or an attorney).
“As a new publisher, you may not know how much what you have
is worth. We do a lot of content licensing and if you don’t know
what you’re doing, you’ll often settle for less than you could with a
pro. For example, we just did a deal a couple of months ago with a
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film company that wanted a small piece of our content in exchange
for ‘promotion’ on the ‘extras’ part of the DVD release. Offers like this
are common. That kind of promotion is nice, but you can’t deposit
promotion in the bank, so I brought in a pro who ended up working a
five-figure deal for it.”
—
David Hooper, MusicMarketing.com
4.2 Registering Your Material
Once you have your manuscript, you’ll need to make sure it’s both
legally protected and registered in all of the important databases so that
booksellers can find it. You should actually begin this process while
your book is in development by obtaining all the necessary forms so
everything is completed as per your timeline.
4.2.1 ISBN Numbers
All books are assigned a unique and internationally-recognized 13-digit
identification number (prior to 2007 it was a 10-digit number) when
published called an International Standard Book Number, commonly
referred to as an ISBN. This number appears on the back book cover
along with the barcode, and on the copyright page. The first 3 digits of
the ISBN are called the EAN, or European Article Number, which is the
product code. This is followed by the group identifier, which indicates
the country and language of publication, the publisher prefix, the title
identifier, and the check digit.
Don’t worry -- you won’t need to remember all that! But it’s helpful to
know that each of these numbers does have a meaning and together
they ensure your book is properly identified in bookseller databases
and easily cataloged for retrieval. The ISBN is also used by search
engines to find your book.
In the U.S., ISBN numbers are officially assigned by New Jersey-based
R. R. Bowker, publisher of Books In Print, while in Canada the Canadian
ISBN Agency of the Library and Archives Canada is the official registry.
If you’re working with an author services company or established selfpublisher, they may provide an ISBN number for you – in this case,
it’s important to make sure that the ISBN is actually issued in your
company’s name as publisher and is not owned by anyone else.
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Bowker offers a number of different packages ranging in cost from $125
for a single ISBN, including SEO-optimized title page on bookwire.
com, to $185 for the premium package – still a single ISBN, but more
“extras”. If you go the more economical block route, you can purchase
a block of 10 ISBNs from Bowker for $250 or 100 for $575.
Keep in mind that a separate ISBN number is required for each edition
of a book, including hardcover, trade paperback, electronic, and any
subsequent updated editions you may publish. For this reason, in
addition to the cost savings you’ll receive, it’s generally recommended
that you buy a block of at least 10 ISBNs rather than a single number;
especially if you plan on publishing multiple titles. You can purchase
ISBNs directly from Bowker by visiting www.myidentifiers.com.
Canadian publishers with a mailing address in Canada, excluding
French language publishers in Quebec, can obtain ISBN numbers
online by visiting www.bac-lac.gc.ca/eng/services/isbn-canada/Pages/
isbn-canada.aspx. Click on “Canadian ISBN Services System (CISS)”,
where you will be asked to register before proceeding. The process is
free, and you should allow about 4 to 6 weeks to receive your block of
ISBNs. Quebec publishers may obtain ISBN numbers here: www.banq.
qc.ca/accueil.
TIP:
Amazon currently uses its own 10-digit shortened version
of the 13-digit ISBN (remember, ISBNs used to be 10 digits)
called an Amazon Standard Identification Number (ASIN).
They use this to catalog all of their products (books and
other merchandise) within their own system. You don’t
need to do anything to create this number – Amazon will do
it for you when your book is listed with them, and you’ll be
able to search for your book on their site either by the ASIN
or ISBN.
4.2.2 Barcodes
A Bookland EAN barcode on the back cover of your book provides
a way for your book to be scanned at the point of sale. The barcode
incorporates your ISBN and the price of the book. Remember “EAN”
from our discussion of the ISBN and what the various numbers mean?
Every ISBN contains a country code. To provide global standardization
for book sales, and since so many books are produced each year, a
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special “country code” was created just for books -- the prefix “978”
precedes the ISBN and stands for “Bookland”. You probably never
learned that one in geography class!
Bowker sells high quality barcode packages that enable you to
customize your results. You can purchase these files in .EPS format
along with your ISBNs in order to simplify the process. Prices range
from $25 each for 1 to 5 barcodes down to $21 each for 11 to 100
barcodes. Visit www.bowkerbarcode.com to order or learn more about
barcodes and how to create and use them properly. If you prefer to
shop around, The Book Industry Study Group provides a list of other
reputable barcode suppliers that can create a high quality, properly
formatted barcode for you: http://bisg.org/?page=BarcodeSuppliers.
There are also several websites that enable you to generate your own
barcodes for free once you have obtained your ISBNs, but be aware that
the quality of the graphics can be variable. Software is also available
for purchase to allow you to generate your own barcodes. Since the
cost to produce a high quality barcode with a third party provider is
minimal, this might not be something you want to experiment with, at
least as a beginning publisher. However, you can find reviews of the
various software generation programs by visiting review sites such as
www.capterra.com/barcoding-software and www.toptenreviews.com/
business/software/best-barcode-label-software.
You may also want to consider using a 12-digit Universal Product
Code (UPC) in addition to the Bookland EAN if you are planning on
selling your titles through retail outlets other than bookstores. UPC is
the standard product code for non-books in the U.S. market, and some
publishers choose to add a UPC since not all non-bookstores will be
equipped to scan the Bookland EAN.
Be aware, this can be a potentially expensive proposition, however, as
you’ll need to register for a unique number for your company through
GS1 (www.gs1-us.info), the only direct source for UPCs in the U.S.
Cost for registration is $760, plus an annual maintenance fee. One way
around this is to purchase a single UPC code for your book through a
3rd party reseller. You’ll find several sites online offering this service.
The cost is more reasonable – usually around $100 – but the drawback
is that the code will be registered under another company name.
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In most cases it’s not necessary to have a UPC code, but this option is
presented for your information.
You can learn all you ever wanted to know about barcodes (and then
some!) at the BarCode 1 website (www.barcode-1.com), including
information about EANs and UPCs.
4.2.3 Copyright
“If the book is being published in the last quarter of the year, place the
date for the first of the next year. It is common practice to do this so
it keeps the book ‘current and relevant’ for a longer period of time.”
—
Emerson B. Donnell III, Author and Publisher, Altruist
Publishing
According to the U.S. Copyright Office, copyright protects “original
works of authorship fixed in a tangible medium of expression.
Copyright covers both published and unpublished works.” Copyright
does not protect ideas, but rather the recorded expression of those
ideas, be they in audio, video, or print form.
As a matter of law, a work is automatically copyrighted upon its
creation. Proving this, should a dispute about ownership ever arise,
is another issue altogether. For this reason, it’s always wise to file an
official copyright registration for all of your completed books so that
a public record exists. You should place your copyright notice on the
copyright page, listing the owner of the material. Depending on your
contract and situation, this may be the author, or in some cases you as
the publisher if you have a work-for-hire agreement.
To register your work, you’ll need to request and complete forms from
the U.S. Copyright Office, or you may register online using their eCO
service. There is an application fee of $35 for online registration or $50
for registering using Form CO. This form, available on the Copyright
Office website, cannot be copied and used for multiple works since it
is unique to each with automatically populated fields as you complete
it to speed processing. In Canada, registration takes place through the
Canadian Intellectual Property Office and costs range from $50 to $65
depending on whether you’re filing online or by mail.
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You will be required to send a hard copy of your work, even if you
register online. The U.S. Copyright Office asks that you submit the
“best edition” of your work. This may be a final publication copy of
your book, or bound galley – either is acceptable.
For more information, and to register your work online or through
Form CO, visit the U.S. Copyright Office website at www.copyright.
gov. Canadian authors and publishers, see the Canadian Intellectual
Property Office website at www.cipo.ic.gc.ca.
Library of Congress Control Numbers
Yes, still more numbers! The Library of Congress issues a unique
Library of Congress Control Number (LCCN), or when issued prior
to publication, it’s called a Preassigned Control Number (PCN), to
each book in its catalog. One LCCN is assigned to the book – multiple
numbers will not be required for additional formats or editions of the
book as with the ISBN. This number is assigned to titles that the Library
of Congress is most likely to acquire. Librarians also use this number to
locate catalog records.
There is no charge for this number, but you must again submit a
“best edition” of the work in hard copy to the Library of Congress
upon publication. Books must be published in the U.S. to be eligible.
According to their website, it usually takes only a couple of weeks
to process requests, but be sure to leave plenty of buffer time in
anticipation of delays if there is a backlog. To participate in this
program, log on to the following website and create an account: http://
www.loc.gov/publish/pcn/. After your application is processed, you’ll
be able to complete a form requesting your LCCNs.
Cataloging in Publication (CIP) Data
In addition to the PCN and LCCN, the Library of Congress uses
Cataloging in Publication (CIP) codes for books considered likely to
be widely acquired by libraries in order to assist in proper cataloging
of books. This CIP data is used to create a bibliographic record of
your work, which you include in your book in order to facilitate the
cataloging process for libraries.
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While self-published books are not currently eligible for the Library of
Congress CIP program, and you are also excluded from the CIP service
if you’ve already obtained a PCN (confusing, yes!), our experts suggest
obtaining PCIP data through a third party. While they will charge a fee
for the service, it will help simplify things enormously.
Visit the following reputable 3rd party providers of PCIP data for more
information:
• Cassidy Cataloging Services
Currently charges $150 for the first PCIP and $125 for each
subsequent PCIP
www.cassidycataloguing.com/services/pcip.php
• Quality Books, Inc.
www.quality-books.com/pcip.htm
For those on a tight budget, consider making an informal arrangement
with an experienced librarian who can help you prepare the data in the
proper format. In either case, you’ll need to have your PCN in hand
first.
Books In Print
Once your book has all the proper identification numbers, you’ll
want to make sure it’s listed in the major online databases and print
publications so that it can be found. Chief among these listings is
Bowker’s Books In Print, which also maintains an online searchable
database at http://booksinprint.com.
The largest bibliographic database of its kind according to Bowker,
Books In Print includes information on more than 7.5 million books
and is an important resource for librarians, publishers, wholesalers,
distributors, and booksellers small and large. You can find more
information and may add your title for free through BowkerLINK™ at
www.bowkerlink.com once you have obtained your ISBN.
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4.3 Printing Your Books
“Printers print what you send them; they are responsible only for the
quality of their work, not yours. If you want a quality product from
your printer, you have to make sure you supply them with everything
they need (graphics at the proper resolution, fonts used in your
publication, files compatible for their equipment, etc.).”
—
Leland F. Raymond, CyPress Publications
Now that all the pieces are in place and you have a quality product
ready, it’s time to determine the best printing method for your books.
In this section we’ll look at your three major options, all of which
have many possible variations: traditional printing, print-on-demand,
and e-books without a print component. You may choose to use a
combination of all three, depending on your needs and budget.
4.3.1 Offset Printing
“I have heard of people ordering 30,000 books with no plan or
previous order set. As a consequence the books sit in the author’s
basement.”
—
Emerson B. Donnell III, Author and Publisher, Altruist
Publishing
A traditional print run, also called “offset printing”, is the method of
choice for most indie and self-publishers, and has been the standard
printing method for most books since the mid-20th century. Offset
printing utilizes metal plates to transfer images, producing a
consistently high-quality end product. Despite all the fanfare for POD
technology, the higher cost per copy for POD printing still makes offset
an appealing option, especially if you’re planning on a print run of
1,000 copies or more. For anything less than 500 copies, also called a
“short run”, you’ll likely lose the cost advantage over POD.
Because of this price break as your print order increases, many new
publishers get caught up in the idea of a discount and are tempted to
over-print. IAP Career College co-founder and experienced publishing
professional Tag Goulet discusses the necessity of striking the right
balance:
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“One of the biggest mistakes new publishers make is printing too
many copies. It can be very tempting -- when you see the price
per book falling dramatically as the quantity increases -- to think
something along the lines of: ‘I’m sure I can sell those 10,000 copies
in no time!’ But even 5,000 copies can take a heck of a long time to
sell. I also advise against being too conservative. For example, printing
only 500 copies of a book can make the cost per book rise to the point
where it can be difficult to break even. Remember, if your book has a
retail price of $19.95, and costs you $7 to print, you are not making a
profit of $12.95. You have to consider all your other costs, including
discounts.”
So how many copies should you print up front? Goulet suggests
getting quotes from printers for several different amounts, such as 1000,
1500, 2000, 2500, and 3000 copies to begin with. “Then do a realistic
assessment and consider how much money you can afford to risk,”
she adds. “If you have sufficient pre-orders or will be selling a lot of
books directly -- for example, through speaking engagements that you
have already lined up -- then you might consider going with a higher
quantity such as 2,500 or 3,000. Remember, if your book is a big hit, you
can always do additional printings!”
Emerson Donnell of Altruist Publishing suggests erring on the side of
caution unless you have a major pre-order in place. But be sure you
have a plan and time frame in place should a large order come in. “If
you get a huge order or sudden demand you can always go back to the
printer who can set a run usually within a few business days,” says
Donnell. Make sure as well that you know what you’re getting with a
smaller run such as this – some printers do not use an offset press for
quantities of 500 or fewer.
How Much Will It Cost?
The appeal of a larger run is simple: the more copies you print, the
lower the cost per copy, thereby increasing your potential profit. For a
print run of 2,000 trade paperbacks (the format traditionally used by
small publishers – hardcovers are rarely necessary and are usually cost
prohibitive), you can expect a cost of approximately $2 to $3 per book,
while 500 copies might cost on average $4 per book. This may seem like
a small difference, but you’ll be dealing with a slim profit margin after
the distributor takes their cut (see section 5.3.1).
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In addition to the number of copies printed, cost will also vary based on
the “trim size” (size of the book) and type of paper (weight, quality, and
color) and binding chosen. The most common trim sizes are 5.5” x 8.5”
and 6” x 9” – these are considered standard trade paperback sizes. Mass
market paperbacks (generally fiction) are typically a smaller trim size,
but this tends not to be cost effective unless you’re doing a larger print
run of 2,000 or more copies. In terms of paper weight, 50# white offset
paper is the standard and will generally be most cost effective. Cover
finishes can be glossy or matte based on your personal preference.
There is much disagreement among publishing experts on whether it’s
worthwhile to pay for shrink-wrapping your titles. This helps to protect
them in transit and keep the covers from becoming worn. Most suggest
eliminating this unnecessary step for cost-savings.
In addition to doing your own research and talking to other publishers,
don’t be afraid to ask your printer for their recommendations –
remember, this is their area of expertise. Communicate with your printer
about your expectations, priorities, and timeframes to ensure you’re on
the same page and be sure to keep those lines of communication open
throughout the process.
Galleys
A traditional print run encompasses a two stage process. First, before
your final offset run, you will print “galleys”, also called “proofs”.
Galley copies can be used for registration with the Library of Congress,
and can also be used to solicit advance testimonials to use in your
marketing campaign. Your galley copies needn’t be perfect – this is
your final shot at corrections before going to print “for real” – but you
should strive for high-quality copies free of obvious typos since you
want to make a positive impression on your pre-publication readers.
Galleys use similar technology to POD printing in that it’s a strictly
digital process, which lends itself well to smaller runs (about 50 to 100
copies on average) and is more cost effective than traditional printing
which involves an additional step. In fact, while many publishers
choose to use the same printer for both galleys and offset to simplify
the process, some experts suggest that you may be able to find a better
deal with a POD printer to produce your galleys, while still utilizing a
traditional printer for your final run.
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4.3.2 Digital Printing and Print-On-Demand (POD)
“The best place to save is by going POD/e-book only. You limit your
upfront costs because you do not have to spend over $3,000 for an
initial print run. Some of that savings can go to marketing (and best
of all you do not have a basement full of books). Lightning Source
provides fulfillment/accounting. What could be simpler for a startup?”
—
Sam Hendricks, Publisher, Extra Point Press
In chapter 3, we discussed the drawbacks and merits of print-ondemand publishing, which can also be called subsidy publishing. The
author pays a company such as CreateSpace, Lulu, or iUniverse, to
produce their book – the chosen company owns the ISBN and pays
royalties on sales, which are typically few, to the author. This is not to
be confused, however, with print-on-demand as a technology, which
we will discuss here.
POD is a completely digital process. Many self-publishers with their
own companies choose digital printing, including POD printing (not
publishing!) over offset because of its unique benefits. Digital printing
allows the printing of as few as one book at a time so that no books are
printed (or need to be warehoused) until an order is placed. Digital
printing can also be used for printing short runs.
So what are some of the pros and cons of POD? While digital printing
still lags behind traditional offset somewhat in terms of the quality of
the output, this difference is becoming less and less distinguishable as
technology advances, and many feel the potential benefits outweigh
the drawbacks. The biggest plus, of course, is the cost savings. The
elimination of a step in the process (creating plates, as are used for
offset) helps to keep costs down. Digital printing is also a faster process,
producing and collating more pages per minute – again, an advantage
in terms of cost. Many traditional printers are taking advantage of the
growth in popularity and provide POD printing services in addition to
offset.
The major drawback to the POD printing method is the cost per unit.
While this technology allows a great deal of flexibility in terms of print
run, the cost per unit is always higher when producing fewer copies.
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This can be a hindrance when determining your price point and can
potentially keep you from competing with similar titles that are priced
lower unless you can offer significant added value.
When Is POD a Good Choice?
There are many ways a publisher can utilize digital printing to
streamline their production process and save money over traditional
publishing, but it’s not the right choice for every situation. So where can
POD make a positive impact on your bottom line? The short answer is
anywhere a short run is needed. Here are a few common uses:
• When publishers have limited funds to spend up front or want to
limit up front expenditures in order to invest more in the business
and wish to print fewer than 500 copies
• Galleys (proof copies)
• Advance Reading Copies (ARCs) to solicit pre-publication
reviews and testimonials
• Reprints of backlist titles still in circulation but selling fewer
copies than at first release
If you choose to go the POD printing route, Lightning Source (www.
ingramcontent.com/publishers/lp/lightning-source) is an often
recommended digital printer because of their association with Ingram,
providing access to a major distribution channel as well as quality
printing services. Another benefit is that they also offer offset printing,
which allows you to transition from one to the other as your needs
change, and fulfillment services if you prefer to limit shipping costs
and avoid warehousing your books elsewhere. You can also find an
excellent review of digital printing technology and a list of digital book
printers, along with tips on how to choose the right one for you, on the
Aeonix Publishing Group web site at www.aeonix.com/digipres.htm
and at www.aeonix.com/bookprnt.htm.
4.3.3 E-Books
“Certainly the advent of e-books and e-book readers have leveled the
playing field for new publishers, lowering the barrier of entry and
greatly increasing the ease of getting ‘published.’ The jury is still out
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on whether or not a successful business can be built on e-books alone.
As of mid-2010, e-books only account for about 5% of all book sales
which, at least for now, would seem to argue against being able to
make a living publishing only electronically. However, e-book sales are
growing exponentially compared to print books and if that continues,
we may soon see a future where “e” only is a viable business
model.”
—
Florrie Binford Kichler, President, Independent Book
Publishers Association
For a number of years, e-book sales rose meteorically, so fast that
some industry sources foresaw a day when the print book might
become extinct. For instance, in 2011, a Publisher’s Weekly press release
(www.publishersweekly.com/pw/by-topic/industry-news/financialreporting/article/47343-e-book-sales-up-159-in-quarter-print-falls.
html) noted:
After increasing at a 169% rate in the first two months of 2011,
e-book sale rose at a relatively modest 145.7% clip in March, to
$69 million, according to the 16 publishers who report figures
to AAP’s monthly sales estimates. For the first quarter of 2011,
e-book sales were up 159.8%, to $233.1 million. While adult
hardcover and mass market paperback did better, posting
gains in March, all the print segments had declines for the first
quarter with the nine mass market houses that report results
showing a 23.4% sales decline, and the 14 children’s paperback
publishers had a 24.1% decline in the quarter. E-book sales easily
outdistanced mass market paperback sales in the first quarter
with mass market sales falling to $123.3 million compared to
e-books’ $233.1 million in sales.
But by mid-2016, Wired (www.wired.com/2016/04/books-vs-amazonyou-can-have-both) reported:
Instead of killing print books, enthusiasm for ebooks seems to
have leveled off. In fact, ebook sales fell 10.5 percent to $68 million
for the first five months of 2015, according to the Association
of American Publishers (AAP), which tracks print and digital
book trends. At the same time, according to Publisher’s Weekly,
bookstore sales rose 2.5 percent in 2015, the first time sales were
up in the sector since 2007. Total bookstore sales in 2015 reached
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$11.17 billion, compared to $10.89 billion in 2014, according
to government data. But this development isn’t new—it’s the
continuation of a trend rather than a new development. Growth
rates for eBooks dropped in 2012, and have been about flat since
2013.
Nevertheless, Publisher’s Weekly also noted (www.publishersweekly.
com/pw/by-topic/digital/retailing/article/69841-there-s-no-one-wayto-sell-an-e-book.html) in 2016:
As e-books sales soften at the large trade houses, some
independent digital (or mostly digital) publishers continue to
see their e-book sales grow. Interviews with five independent
publishers show a range of publishing practices with the e-books
they publish and highlight the ways in which they promote
and market their lists...All the publishers interviewed said they
continue to see growth in e-book sales overall. These companies
also share a number of promotional and marketing strategies—
including the use of social media of all kinds and promotional
newsletters, the creation of genre-focused online communities,
and the building up of backlists.
One reason for the growth of e-books was the advent of user-friendly
and portable e-readers such as the Kindle, Nook, Sony Reader, and
iPad; many of the downsides that previously existed with e-books have
vanished. No longer are readers forced to sit in front of the cold
isolating glare of their computer screen to read a book. On the contrary,
e-readers now provide instant gratification for readers who prefer to
shop online and just can’t wait for that Amazon box to arrive in the mail
– instead, instant delivery while relaxing at the beach or commuting to
work on the train. E-books are also less expensive than traditional print
books, so with less disposable income for book buying in the current
economy, the electronic format has benefited.
In terms of benefits for a publisher, cost is the major appeal. Eliminating
not only printing costs, but warehousing, shipping, and returns means
major savings and an enormous simplification of the publishing
process. In making your decision, consider the type of content in your
book as well – text works well in e-book format, while books heavy
with graphics do not lend themselves well to electronic format. Another
concern is the lack of standardization in terms of electronic file format
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among the various e-readers. This is due in part to continuing advances
in technology, but also proprietary issues by major e-reader and e-book
sellers such as Amazon that have a financial interest in keeping rights
exclusive.
As a publisher, this means converting your files into a variety of formats
in order to take maximum advantage of the market. Some of the major
file formats include PDF, EPUB, and MOBI. The following tables provide
an excellent overview of the various formats and handy reference for
comparing which formats are supported by which devices and what
their capabilities are: http://en.wikipedia.org/wiki/Comparison_
of_e-book_formats.
While most e-readers can handle the standard PDF, keep in mind this
doesn’t necessarily present the best possible formatting choice for
e-reading devices. Its popularity is mostly due to the fact that it can
be read on almost all computers, which typically come equipped with
Adobe Reader, without additional devices or downloads. PDFs also
allow some degree of protection from copying through Digital Rights
Management (DRM). However, there is some disagreement among
experts as to whether DRM does more harm than good by penalizing
well-meaning readers simply looking to convert a file for their reader
of choice.
The good news is that conversion to file formats other than PDF is
relatively inexpensive and easy. Calibre (www.calibre-ebook.com)
converts a wide range of formats for free. If you’re using Adobe InDesign
CS5 to create your e-book, the program includes a feature that allows
you to export your document to EPUB format (https://en.wikipedia.
org/wiki/EPUB). EPUB is a formatting standard developed by the
International Digital Publishing Forum and is compatible with many
popular devices, including the iPhone. Alternatives to Calibre include
Alfa (www.alfaebooks.com), Hamster (www.hamstersoft.com/freeebook-converter), and many others.
For the less technologically-inclined who may hesitate to go the complete
D-I-Y route in creating their e-books, there are many companies that
will convert your book into multiple formats and distribute it to a
variety of popular e-book sellers. One of the most popular and highly
rated among authors is Smashwords, a free digital publishing platform
and e-book seller specifically geared toward self-published authors
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(www.smashwords.com). Smashwords provides non-exclusive rights
to the digital work and typically pays you an author/publisher royalty of
85% of net proceeds (keep in mind this is net proceeds – not 85% of total
sales). In addition to making your work available in their own online
store, Smashwords has distribution arrangements with all the major
online sellers including Amazon. This interview with Smashwords
founder Mark Coker provides more insights into the process, as
well as a discussion of digital rights management (DRM): www.
selfpublishingreview.com/blog/2009/02/01/interview-mark-cokerfounder-of-smashwords.
4.4 Hiring Staff and Freelancers
“I wish I had known how quick, easy, and inexpensive it is to hire
somebody for the areas you need help with. Bringing in a pro to edit
your manuscript, do your layout, or design your cover are all ways to
help your book compete, yet it’s something I totally missed on my
first book and that really slowed the initial momentum I had.”
—
David Hooper, Musicmarketing.com
You may be working on your own when you first start your business,
but at some point you could decide to hire people to work with you.
For example, you might hire an assistant or someone to help market
your books. Most book publishers utilize the services of an editor or
proofreader as well to ensure their books meet professional editorial
standards. You might hire these people as employees, or more often
as a small publisher you might sign them on as contractors on an asneeded basis. In the following sections we’ll cover how to hire support
staff to handle office tasks, as well as freelancers to provide creative
services.
For an excellent review of hiring full-time staff for a larger publishing
operation, including average salaries and an organizational chart, see
Thomas Woll’s Publishing for Profit: Successful Bottom-Line Management for
Book Publishers.
4.4.1 Employees versus Contractors
When you need help, you have to decide whether to hire a contractor,
or take on an employee as part of your staff. First, you need to know
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what the difference is between a contractor and an employee. Secondly,
you need to know what your obligations are to both as the employer.
Here is some information to help you make the right decision for you.
Legally, if you hire an employee, you will have to pay payroll taxes
on that employee, and probably make unemployment and workers’
compensation contributions to the appropriate government agency. On
the other hand, you can train those employees the way you like, and
you can require them to do their work at certain hours and at places
you choose.
Contractors are different from employees in that you don’t invest
time in training them, nor do they work hours specified by you.
They are self-employed, and you pay them on an hourly or pertask basis to complete specific tasks. You may be interested in hiring
contractors for specialized services, such as an accountant, business
consultant, or PR specialist. Be sure to read the IRS’s information and
advice on employees versus contractors at www.irs.gov/Businesses/
Small-Businesses-&-Self-Employed/Independent-Contractor-SelfEmployed-or-Employee. In Canada, read publication RC4110, which
you can find at www.cra-arc.gc.ca/E/pub/tg/rc4110.
If you hire contractors on a freelance basis, those people will have
learned their job skills elsewhere. They can choose how and when
to do the work. Freelancers or contractors generally run their own
business and offer a specialized skill at an agreed upon rate on a per
project basis. You mutually agree on what product will be delivered
or what services will be performed, as well as where and when they
will be performed. But you cannot require them to be at your office or
anywhere else for a certain number of hours daily. It is often best to
spell out what you expect and what the contractor is to do or deliver in
an agreement. Other differences between an employee and a contractor
are:
• Employees work only for you. Contractors may have other clients
as well as you, and can work for any and all of them.
• Employees are paid on a regular basis. Contractors are paid per
project.
• Employees work for a certain number of hours. Contractors set
their own hours, as long as they get the job done. That can be
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great for them if they are really fast, or not so great for them if
they are really slow. As long as the project is finished on time
to specs, it’s great for you. (On the other hand, if an employee is
slow, you may end up paying more salary to get the job done in
overtime, or even hiring temporary help to get things finished.)
• Employees can be fired or quit. Contractors can’t be fired in
the usual way while they are working under contract. You may
decide to have them stop working on a project, but you will be
obliged to pay them according to your contractual agreement
unless you are able to renegotiate the contract or successfully sue
them if you are unhappy with their work. (Of course that would
only be in extreme cases; it is best to avoid lawsuits altogether!)
Even though you are not writing paychecks to contractors, but rather
checks for contracting fees, there are still tax considerations. For more
information about employment taxes, contact the IRS or Canada
Revenue Agency.
4.4.2 How to Find Freelance Help
“Without a great manuscript you don’t have anything worthy of
promoting. The first set of funds should be devoted to your editor.
It will give you the best possible return on your investment. The
next step is cover design -- books ARE judged by their covers, and
skimping on cover design could cost you distribution.”
—
Linda F. Radke, President, Five Star Publications, Inc.
Many of our experts noted that one of the biggest mistakes they see new
publishers make, particularly self-publishers, is trying to do everything
themselves. Even if you’re working out of a home office and are on a
tight budget, outsourcing aspects of your projects that require a skill set
you don’t have just makes good practical sense. First, it enables you to
spend your time on the tasks only you can do. Secondly, it ensures that
your finished product is professional looking and on par with books
produced by the major publishing houses so you have a fair chance to
compete.
The tasks most commonly assigned to a freelancer hired on a contract
basis are:
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• Editing (this may include copy editing, line editing, and/or
developmental editing)
• Proofreading
• Typesetting
• Cover design
• Indexing
For More Information
Before you hire, check with your local department of labor to find
out all the rules and regulations required as an employer. There
may be other state and federal rules and regulations that may
apply to you, including: health and safety regulations, Workers’
Compensation, minimum wage and unemployment insurance.
Before you hire someone as an employee, it’s a good idea to get
some additional information concerning regulations, taxes and
so forth. In addition to your local department of labor, visit the
sites below for more information:
• U.S. Internal Revenue Service
www.irs.gov/Businesses/Small-Businesses-&-SelfEmployed/Businesses-with-Employees
• U.S. Department of Labor
www.dol.gov/opa/aboutdol/lawsprog.htm
• Canada Business Network
http://canadabusiness.ca/blog/looking-for-it-help-hiringan-employee-vs-an-independent-contractor-1
http://canadabusiness.ca/managing-your-business/
employees/hiring-employees
• NOLO
www.nolo.com/legal-encyclopedia/human-resources
Among the experts polled, hiring editing and proofreading help were
the two “must haves”, with cover design coming in third on the priority
list. Hiring someone to do your cover design depends in part on the
level of your own graphic design skills and artistic eye.
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Editing and Proofreading
We found a general consensus on the point that no matter how great a
writer you may be, you should not attempt to edit and proofread your
own work. As author and publisher Sam Hendricks of Extra Point Press
put it, proofreading and editing are “worth their weight in gold”.
“Don’t believe for a second that you can edit your own work, or that
‘your friend who once was an English major’ can be counted on to
find all the corrections. Spend time searching for a credible editor.
A misspelled word or poor writing can often discredit your message
-- no matter how good or profound it is.”
—
Emerson B. Donnell III, Author and Publisher, Altruist
Publishing
Leland Raymond of CyPress Publications explains the benefits of a
professional manuscript edit and what you can expect from the
process. It’s not just a matter of running spellcheck!
“A professional book editor not only improves your writing by
correcting grammatical and typographical errors, rewriting awkward
sentences and paragraphs, and analyzing your entire manuscript for
problems and inconsistencies, but also acts as a liaison between you
and your audience. If something you’ve stated is factually incorrect or
your story elements are less than ideal, your editor will suggest ways
to make your book as good as it can be.”
—
Leland F. Raymond, CyPress Publications
So where does one go to find a good editor and proofreader, and how
much should you expect to pay? The answer to both of these questions
of course is, it varies. Highly experienced editors will cost more, but
a list of published credentials and testimonials can give you peace
of mind that your manuscript is entrusted to a professional. You can
get an idea of the going rate for the full spectrum of editorial services
from the Editorial Freelancers Association, which lists the average
going rates: www.the-efa.org/res/rates.php. Keep in mind this is only
a very rough guideline and rates vary widely. You can also search their
member directory to find an editor or proofreader. The Independent
Editors Group is another source for highly credentialed editors: www.
bookdocs.com.
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Less experienced editors will probably give you a better rate since
they’re looking to establish their credentials. It’s a trade off. You can find
many editors, proofreaders, and other creative professionals looking
for work on websites such as www.guru.com or www.upwork.com.
You might also choose to advertise for freelance help on a site such as
www.mediabistro.com.
It is possible, however, to find a highly skilled editor or proofreader who
has recently started their own business, but has years of experience with
a major publishing house. This is an unfortunate reality of the current
economy as the turnover rate in the traditional publishing industry is
high and major layoffs have been common in recent years – but it may
be to your advantage in seeking qualified help at a reasonable price.
Cover Design
“While the adage ‘You can’t judge a book by its cover’ is true, readers
and industry experts do exactly that. And they make a decision to
buy or not within approximately ten seconds. Your book cover must
be visually appealing; it must effectively convey your book’s subject,
and it must compel the reader to read the back cover copy. The back
cover copy must compel your reader to open the book, and your initial
pages must effectively convince your reader to buy your book.”
—
Leland F. Raymond, Publisher, CyPress Publications
While all of our experts concurred that cover design is important and
has a huge impact on whether readers will pick up and buy your
book, some felt this was a task that could be learned while others
recommended hiring help. Much depends on your skills and budget.
An excellent resource for finding professional cover designers, in
addition to the professional association web sites already mentioned,
is John Kremer’s Bookmarket.com: http://bookmarketingbestsellers.
com/book-cover-designers-and-book-design-services.
A professionally designed cover might cost anywhere from a couple of
hundred dollars to a few thousand dollars depending on the designer’s
experience and the complexity of the cover design required. However,
you can try the general freelancer sites recommended above and will
probably be able to negotiate a reasonable rate. Author and publisher
Emerson Donnell offered the following advice on how to work
efficiently and economically with a professional designer:
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“Do as much cutting, pasting, font changing and experimentation on
your own before submitting to a cover design artist or company. They
typically have a small set of changes allowed, then a price add on for
every change thereafter. It’s easy to run through a few evolutions and
color schemes on your own before submitting a cover design plan.”
—
Emerson B. Donnell III, Publisher, Altruist Publishing
Another option for the short-of-funds is to hire a talented graphic design
student looking to build his or her portfolio – of course you won’t really
know what you’re getting here. Contact your local college or university
career services or graphic design department, or check out some of the
bigger name design schools online, such as Pratt Institute, School of
Visual Arts, or Rhode Island School of Design (RISD). You can find U.S.
News and World Report ranking of the top art schools by category here:
http://grad-schools.usnews.rankingsandreviews.com/best-graduateschools/top-fine-arts-schools.
If you do decide to tackle your own cover design, be sure to carefully
review the components of other book covers, particularly your direct
competition. This can help give you an idea of what works and doesn’t,
and what your taste preferences are. You should also consider whether
or not the book will become a series or have multiple volumes. If so,
think about developing a consistent theme and color scheme that will
be recognizable in terms of branding.
As for cover design software, there are several alternatives to the
more expensive Adobe InDesign and Photoshop, though these are
the standards for professional quality. Many small publishers like
BookCoverPro for both print and e-book covers, which costs $97 for the
standard version and $197 for the deluxe version: www.bookcoverpro.
com.
You can read more about principles of cover design in articles at sites
such as:
• http://1106design.com/2009/05/the-top-3-cover-design-mistakes-
part-1
• https://writersedit.com/common-book-cover-mistakes-indie-
authors
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• http://rockingselfpublishing.com/8-book-cover-mistakes-to-
avoid
Indexing
A book index, though not exactly the most flashy and exciting part of
a book, is one of the most essential. How many times have you read
a nonfiction work and checked the index in hopes of going back to a
key subject, only to find it’s not there? Frustrating! Indexing and crossreferencing takes a great deal of detail orientation and knowledge of a
very specific set of standards.
Visit the American Society for Indexing website to search their database
of indexers, post a job for bid, or read their tips for authors on how to
find and work with a freelance indexer: www.asindexing.org. When
considering hiring a freelance indexer, be sure to ask for samples of
their work and look for someone who has experience indexing books
in your book’s particular topic or category.
Typesetting
There is much debate in the self-publishing world over whether
Microsoft Word is appropriate for typesetting a book. Some successful
do-it-yourselfers swear by it for practicality, familiarity, and ease of
use—not to mention availability and cost-savings. Most would-be
authors and publishers already have access to this program and know
how to use it.
However, the majority of experts will cringe and write their thoughts on
the subject in all caps -- things like “NEVER!”-- at the mere suggestion
of using such a blunt instrument for book layout. Their main objection
is based on the assertion that the results look unprofessional and will
therefore be putting you at a disadvantage. The following article from Joel
Friedlander’s informative blog, The Book Designer, provides an excellent
overview of the issues involved with using Word for typesetting, and
provides a visual comparison of the same pages produced in both
Word and InDesign. Judge the results for yourself: www.thebook
designer.com/2010/01/the-trouble-with-word-processors.
If you decide to hire a professional to do your typesetting, you will
generally pay by the page and will find a huge variance in rates
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depending on experience. Again, the professional associations are the
best place to start your search for the right typesetter for your project.
4.4.3 How to Find Support Staff
So, how do you find staff when you need help? There are several routes
you can take, including running an ad in the classified section of your
area newspaper (least efficient for more specialized positions, such as
editorial staff, but a great way to find a local general office assistant),
working with an employment service, or seeking help on an online job
site such as those mentioned in chapter 4.
However, the first place to start is by using word of mouth to get the
word out that you are looking to hire someone. Ask friends, family, and
acquaintances if they know anyone who might be a good candidate
to work with your business. You can also spread the word through
organizations that you belong to.
If you need help for just a limited time, such as someone to help with a
promotional mailing effort or to make phone calls, you might consider
contacting a temporary employee service. These services provide
employees on a temporary basis. You pay the service, and the service
pays the employee. It also provides benefits to the employee and takes
care of payroll, taxes and so forth. You’ll likely need to pay more to the
service than you’d pay to a permanent employee, but if you only need
help for a limited amount of time, it may be worth it.
Another budget-conscious option may be to contact your local college
or university to seek a student intern. While some internships offer a
small stipend, it is also possible to find an intern to work for college
credit only. Again, these tactics are great for hiring help with general
tasks. We’ll address how to find freelance editorial help later in this
section.
The selection process starts with the prospective employee filling out an
application or sending you a resume and cover letter, either in hard copy
or via e-mail, for your review. In addition to looking at the individual’s
employment history and skill set to see if it’s a match with your needs,
other clues can provide you with insight. For example, did the person
accurately follow any directions you provided in your ad regarding the
application process? If not, it may be an indication that they didn’t read
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it carefully or chose to do things their own way in spite of your requests
– these could be warning signs of a potentially problematic employee.
Is the resume professional-looking, or does it contain typographical or
grammatical errors?
4.4.4 The Interview Process
The purpose of an interview is to get to know potential applicants as
much as you can in a short period of time. It is therefore important
that most of that time be spent getting the applicants to talk about
themselves. Most employers with limited interviewing experience
spend too much time talking about the job or their business. And while
that is certainly important, it won’t help you figure out to whom you are
talking and if that person is a good match for your store. A good rule
of thumb to follow is that the applicant should do 80% of the talking.
To make the best use of your time, have a list of questions prepared in
advance. This will keep the process consistent between applicants. You
can always add questions that pop up based on their answers as you
go along.
To get a sense of how an employee will actually behave on the job, it is
also a good idea to ask “behavioral questions.” Behavioral questions
ask applicants to give answers based on their past behavior. An example
is “Tell me about a time you had to deal with a difficult customer.
What was the situation and how did you handle it?” Instead of giving
hypothetical answers of what someone would do in a particular
situation, the applicant must give examples of what they actually have
done. While people’s behavior can change, past performance is a better
indicator of someone’s future behavior than hypothetical answers.
You can also ask questions that communicate your company policies
to discover if the applicant will have any issues in these areas. Some
examples are:
• When you are working, I expect your full attention to be on
my customers. I do not allow private phone calls unless it is an
emergency. Is that a problem?
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• It is important that we open on time. I expect my workers to be
punctual. Is there anything that could keep you from being on
time for every shift?
By being clear on specifics and details in the interview, you can hash
out any potential problems right then and there or agree to go your
own ways because it is not going to work.
What You Can and Can’t Ask
You should be aware that there are some things you simply cannot ask
about during a job interview. Some are illegal and others are insulting
and open the door to charges of discrimination. They include questions
about:
• Age
• Race
• Religion
• Marital status
• Family status or pregnancy
• Disability
• Workers Compensation claims
• Injury
• Medical condition
• Sexual orientation
4.4.5 References
Once you have found an applicant who appears to be a good fit, you
can learn more by checking their references. The best references are
former employers. (Former co-workers may be friends who will give
glowing references no matter how well the employee performed.)
Many companies will not give you detailed information about a past
employee. They are only required to give you employment dates and
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sometimes they will confirm salary. But many times you will be able
to learn a lot about a potential applicant from a reference phone call.
A good employee is often remembered fondly and even asked about
by a former employer. An employer may not be able to tell you much
about a bad employee for liability reasons, but they can answer the
question “Is this employee eligible to be rehired?” Here are some other
additional questions from Tom Hennessy, author of the IAP Career
College Guide to Become a Coffee House Owner:
• How long did this person work for you (this establishes the
accuracy of their applicationss)?
• How well did they get along with everyone (looking for team
skills)?
• Did they take direction well (code words for “did they do their
job”)?
• Could they work independently (or did they sit around waiting to
be told what to do next)?
• How did they handle stressful situations (this is important,
especially if you are busy)?
If the references make you feel comfortable, call the employee to let
them know they have a job and to come in and fill out the paperwork,
or that you will e-mail it to them if they will be working remotely.
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5. Business Operations and Finances
“Lack of education about the business of publishing and lack of
adequate funds are two of the biggest pitfalls. Passion is important, but
so many new publishers allow their passion to overcome preparation,
leaving them with a second mortgage to fund their first title, and a
garage full of books with no idea how to sell them.”
—
Florrie Binford Kichler, President, Independent Book
Publishers Association (IBPA)
There are many reasons book publishing appeals to people, but for
those who are more interested in the creative aspects, the financial
management of a business may seem a bit more intimidating. Certainly
you can hire an expert to help you if this is the case. Still, it’s important
as a publisher to have a basic understanding of concepts such as how to
price your book and how to analyze whether a new title is a potentially
profitable undertaking. In this chapter, we’ll examine book pricing
strategies, what goes into a title P & L (profit and loss statement), and
how to sell your books to individuals and bookstores, both brickand-mortar and online.
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5.1 Pricing Your Books
5.1.1 Guidelines
While there are several different formulas you can use, one main
consideration in pricing your books is what the local market will bear.
If books on a certain topic are in high demand and you have little
competition, then you’ll probably be able to charge higher prices for
them. This is the “law” of supply and demand and you should pay
close attention to any trends you see developing in your customers’
buying patterns to take advantage of this. Here are some basic tips for
pricing your books:
• Consider what the market will bear. What is the demand like
for the type of material you’re publishing? The market analysis
you’ve already done should help here.
• Consider your competition. Are there other books like yours in
print? What are they charging and where are they selling (online
only, brick-and-mortar bookstores, other retailers, etc.)?
• It is not always best to price items lower than the competition
charges. Most people believe you get what you pay for. The key is
to price the item fairly but allow yourself a reasonable profit.
• If you need to charge significantly more than your competition
for a similar title in order to make a profit, can you provide an
added value product or service (such as an e-book or CD-ROM)?
• Consider your per unit production costs and standard trade
discounts to wholesalers and retailers (more on this later in
the chapter). Try to balance a competitive price point with a
reasonable profit margin to make the endeavor worth your while
financially.
Another trick many publishers use is to price things just under the
dollar mark. For example, instead of putting a price of $10 on an
item, you would mark it $9.95. Even though there is only a five cent
difference between the two prices, customers will perceive one as ten
dollars and the other as nine dollars, resulting in better sales.
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5.1.2 Retail Pricing Formulas
There are several simple pricing formulas that are a good place to start
in determining your retail price. However, as your individual costs
may vary significantly, you’ll probably need to tweak these to find the
right balance between being competitive and being profitable. The per
unit cost is determined by dividing your total production costs by the
number of books printed. Some experts suggest your list price should
be a minimum of 3 times your per unit costs, while others suggest 5
times, or even as much as 8 times your costs.
Many other factors go into this decision in addition to the profit you’d
like to earn. For example, if your book costs $3.00 per unit to produce,
it probably wouldn’t be very competitive in the marketplace at 8 times
that amount, $24, unless you’ve produced a weighty reference tome
of some sort. So how do you go about finding the balance? A good
place to start is by assessing your costs (not only for printing, but also
marketing, shipping, ISBNs and other expenses) and determining your
break-even point.
As an example of how pricing affects your business, we’ll use the breakeven point for a fictional business. You may remember the formula for
calculating the break-even point from section 3.4.2 as:
Break-even point = Total fixed costs ÷ (1 – total variable costs ÷
revenues)
In the example in section 3.4.2, the break-even point for the business
was $69,000 in annual revenues. Also, for every dollar of sales, the
company had 56 cents in variable expenses. Therefore, to break
even, fixed costs can represent no more than 44 cents on every dollar.
So if you had an item priced at $1.00, 56% of the selling price would be
variable expenses and the rest would be fixed costs, leaving no room
for profit. Obviously, nobody wants to run their business like that.
Based on these figures, the business owner might want to increase the
profit margin. So for example, instead of selling a product for $1.00 as
before, the owner might increase the retail price to $1.25. This would
lower the percentage for each of fixed and variable costs as a percentage
of revenue, resulting in an increased profit margin.
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5.1.3 Profit Margin vs. Percentage Markup
Every business owner dealing with the retail market, including
publishers, needs to understand the difference between profit margin
and percentage markup. The profit margin is the amount of your
retail price that represents profit for you over and above the cost of the
merchandise. In a more sophisticated model, you would also include
your total operating expenses as well. You would add in your fixed and
variable costs and factor them into your pricing model, along with cost
of goods.
The percentage markup is the percentage amount you increased
the retail price over your cost for a given item. After you have been
in business for a while, you will know what price markup generally
works best for you. Pricing by percentage markup is less usual than
pricing by profit margin.
Let’s look at a specific example. We’ll use small numbers here instead of
typical book prices to help keep things simpler. Consider an item with
a retail price of $1.00, that cost you 40 cents to produce.
The profit margin formula is:
Margin= (1 - (cost ÷ selling)) x 100
= ( 1 - (40 ÷ 100)) x 100
= (1 - .40) x 100 = .60 x 100 = 60
So in this example the profit margin is 60%.
If, however, you decided that you would set your prices by marking up
everything by 60%, then,
The percentage markup formula is:
Price = cost + (cost x 60 ÷ 100)
= 40 + (40 x 0.60)
= 40 + 24 = 64
Using a fixed markup of 60%, the retail price on an item costing $0.40
would be $0.64.
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Look carefully at these two formulas. Notice that markup pricing and
profit margin pricing create two very different selling prices. In the first
example, pricing based on a 60% profit margin required a selling price
of $1.00. In the second example, using a percentage markup of 60% on
cost resulted in a price of only 64 cents, a profit margin of only about
38%.
A quick way to calculate a profit margin price is to divide the cost price
by the difference between 100 and the profit margin. For example, if
you wanted to have a 5% profit margin you would divide your cost
price by (100 - 5) or 95 percent. So if you paid 40 cents for a product
and you wanted a 5% profit margin, to arrive at your selling price you
would use the formula: 40 ÷ (100 - 5) = 40 ÷ .95 = 42 cents. Here are some
additional examples so you can see the trend:
10%: 40 ÷ (100 - 10) = 44 cents
15%: 40 ÷ (100 - 15) = 47 cents
25%: 40 ÷ (100 - 25) = 53 cents
50%: 40 ÷ (100 - 50) = 80 cents
Once you know your cost of doing business, you can easily arrive at
a minimum profit percentage margin price that will meet your needs.
Keep some of the other pricing concepts in mind as well. Your market
may be able to support a higher profit margin in your pricing. Another
way to increase your profit margin is to reduce your variable expenses.
If you find that your profit margin is too low, you can reduce costs
like labor by taking on more of the process yourself and learning the
needed skills (such as design) rather than hiring a professional. You
might also consider a larger print run to reduce unit costs, though our
experts warn not to get too caught up in this idea as you may end up
with a lot more books on your hands than you can move, and storage
can get expensive too.
To read more about retail pricing concepts, try the following online
resources:
• Markup or Margin: Selling and Pricing
www.buildingtrade.org.uk/articles/markup_or_margin.html
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• Margin Markup/Profit Percentage Table
www.csgnetwork.com/marginmarkuptable.html
• How to Price Your Small Business’ Products and Services
www.sba.gov/blogs/how-price-your-small-business-productsand-services
5.1.4 Standard Discounts
“In order to get into a bookstore you need to offer a minimum 55%
discount. The bookstore gets 40% typically and 15% goes to your
distribution partner. I go for the more profitable online market
(Amazon and BN.com). The profit from bookstores comes from selling
large quantities at a small profit. The profit from the online market
comes from selling a smaller quantity at a higher profit.”
—
Sam Hendricks, Publisher, Extra Point Press
In the popular film “You’ve Got Mail”, Meg Ryan is the proprietor of
The Shop Around The Corner, a small independent bookstore trying
to compete with Tom Hanks’ Fox Books, a large chain store that has
moved into the neighborhood. The appeal of Fox Books in a nutshell,
as Hanks’ character puts it: “We sell cheap books.” So just how can the
mega-bookstores afford to offer such great prices while smaller stores
can’t compete? The short answer is deep publisher discounts.
If you decide to go the traditional distribution route through the major
brick-and-mortar bookstores (which may not be the most effective or
profitable path for a new publisher – more on this later in the chapter),
you’ll need to accept the reality that the discount system will take a
very large bite out of your profits. Not only do retail booksellers require
a discount, but so do wholesalers, and distributors – with each link
in the book distribution chain, your piece of the pie gets considerably
smaller. You need to understand the discount system in order to set
a retail price for your book that still factors in some profit for you as
publisher (and/or author).
All of the major book chains purchase their stock through a limited
number of distributors. While you may be able to walk into your local
independent bookstore and make a deal directly with the manager
to carry your books on consignment in exchange for a 40/60 split,
Barnes & Noble, Border’s, and the other major booksellers just don’t
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do business this way, no matter what kind of discount or return policy
you’re offering. While this may seem unfair at first glance, consider
how inefficient a system it would create if booksellers had to contract
individually with the thousands of individual publishers out there.
So, the chain basically works like this: you contract with a distributor,
typically on an exclusive basis, who gets 15% of the list price (and
potentially additional fees depending on the distributor ). The
distributor then sells your books to wholesalers, who get another 15%,
and bookstores, with a 40% discount off of the list price (keep in mind
though that bookstores don’t really “buy” – it’s more of a consignment
arrangement since they usually require a return policy for books that
they can’t sell). Libraries typically get a 20% discount. While libraries
usually have need of fewer copies than a bookstore, the good news is
that there are no returns to worry about.
The discount a publisher offers can range from 20% to 55%, with
the higher end being the standard. This enables the greatest access
to your books by retailers of all sizes because it leaves plenty of
room for the wholesalers to pass along a percentage of the discount
while still maintaining a profit margin. If your book is printed POD
with Lightning Source (LSI), you’ll have the option of choosing a
“short discount”, which is something less than the standard 55%.
The minimum Lightning Source discount they will allow is 20%.
Let’s take a look at an example to illustrate the discount process:
• You decide to set the retail cover price for your book at $19.95
• If you then offer a 55% wholesale discount on your book, your
wholesale price would be 45% of $19.95, which is $8.98
• Next in line, the retail bookstore gets your book from the
wholesaler for 40% of the list price, which is $12.57
• Customers then purchase your book through the bookstore for
the original retail price of $19.95, or for a discounted price set
by the bookseller – since they’ve obtained the book for $12.57
they can offer a 10% or even 20% discount and still make a profit
(Amazon typically passes on half of any discount they receive to
customers)
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Before you get too excited about that $8.98, don’t forget about all of your
costs, which need to be deducted from your cut in order to determine
your profit. We’ll look at accounting and profit & loss statements in
more detail later in this chapter.
It is a complex system to understand, but the important take-away here
is that large discounts are standard and unavoidable if you plan on
doing a volume business and dealing with traditional print outlets.
Therefore, if you’re determined to go the traditional distribution route,
it’s important to factor these figures into your cover price to ensure
you’re making a profit.
If you’re selling to local independent bookstores directly or retail
businesses other than bookstores, you may be able to negotiate your
own deal without using a wholesaler or distributor. In this case, a retail
outlet will likely expect between a 40% and 50% -- still significant, but
a slight cost benefit to you over a wholesale arrangement. However,
you need to weigh this slight advantage against the greater potential
for higher volume sales through a distributor. See section 5.3 for more
information on wholesale and distribution.
E-Book Pricing
This is a topic much debated and in the news recently as the major
publishing houses look to the future of publishing and how they
can profit from e-books, while online retailers like Amazon look
to keep costs low in order to keep competitors at bay.
There are a number of schools of thought on this one. If you’re
publishing a print version also, some experts suggest offering the
e-version as a freebie for customers who order your print book
directly from your website, where you can potentially keep more
of the profits. If you’re looking to turn a profit on the e-book
itself, however, the price structure may be influenced by how
you’re producing the book and where you’re marketing it.
Smashwords, for example, has a specific fee structure set up
based on the cost of the print version of your book. For print
books published with a list price of $22 or less, you cannot price
your e-book higher than $9.99 for the first 12 months, per their
agreement with Apple’s iBookstore.
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If you’re handling your own e-book conversion and distribution,
examine your Title P&L carefully. What portion of your costs per
unit are going toward printing, shipping, and storage expenses?
These are not required for e-books, so you may be able to deduct
this percentage from your price per unit. Another option, if your
goal is to encourage e-book sales, is to set your prices based on
the perceived value of the content (the price readers are willing
to pay), and charge only a little more for the print version.
With digital publishing and pricing still in flux, there is no single
recommended standard or formula here. The basic guidelines for
print books apply here as well, but your best bet is to do a careful
analysis of your competition’s e-book prices and keep an eye on
the latest headlines in the book trade publications and websites.
5.2 E-Commerce
“Make it easy for people to buy books, including bulk books, with
links on every page to purchase. Many buyers will only buy online
from household name retailers, so you may want to include direct
links for each project to vendors such as Amazon or Barnes and
Noble. If the book is available as an e-book, don’t forget to let readers
know. If the author can sign or even personalize books, this is a strong
incentive to buy directly from the publisher, where the publisher and
author will make the most profit.”
—
Sandra Poirier-Diaz, President, Smith Publicity
As soon as you establish your business you will need to open a business
checking account at a bank, trust company, or credit union. You can
shop around to find a financial institution that is supportive of small
business, or use the same one that you use for your personal banking.
In addition to your checking account, a financial institution may
provide you with a corporate credit card used to make purchases for
your business, and a line of credit to purchase items for your business.
The internet provides the greatest opportunity for new independent
publishers and self-publishers to sell their books, without the timeconsuming and costly efforts involved in dealing with brick-andmortar bookstores. Online sales can help to level the playing field in
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terms of access to customers. There are many online retailers, the most
popular being Amazon.com, that can offer an outlet for your work.
Many small publishers have been successful focusing their efforts here
rather than expending time, energy, and money trying to get their
books into physical bookstores when the potential risk may outweigh
the potential reward.
But first, let’s take a look at what you’ll need to do to accept direct
orders from customers through your website. Although it’s extremely
difficult to drive enough traffic to your website to rely on those sales
alone, there are benefits to selling through your own site. When you sell
direct through your website, you’re not required to offer the standard
discounts that wholesalers and distributors will require, so you can
potentially keep more of your profits. You have a variety of options for
getting paid by your customers.
5.2.1 Accepting Credit Cards
American Express and Discover cards set up merchant accounts
nationally and internationally. MasterCard and Visa are local.
To become a merchant accepting MasterCard and Visa, you will have
to get accepted by a local acquirer (a financial institution like a bank
licensed by the credit card company). Because yours is a new business,
you may have to shop around to find one that gives you good rates
(you may be charged between 1.5 and 3 percent per transaction for
the service, and often an initial setup fee and perhaps ongoing fees for
phone calls, postage, statements, and so on).
You might also have to provide evidence of a good personal financial
record to set up an advantageous rate, at least until you’ve become
established in your business and have a good track record for them
to look at. Remember, the bank is granting you credit in this instance,
“banking” on the fact that your customers will not want refunds or that
you won’t try to keep the money if they do.
These days, although the acquiring bank will be a local bank
somewhere, it need not be in your hometown. Numerous services are
available online to help you set up a merchant account. MasterCard
and Visa accounts, as well as American Express and Discover, can all
be set up through your local bank or by going to the websites of each of
these companies.
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MasterCard Merchant
www.mastercard.us/merchants/index.html (USA)
www.mastercard.ca/en-ca/businesses.html (Canada)
Visa
https://usa.visa.com/run-your-business/accept-visa-payments.html
(USA)
www.visa.ca/en_CA/run-your-business/accept-visa-payments.html
(Canada)
American Express
https://merchant-channel.americanexpress.com/merchant/en_US/
accept-credit-cards (USA)
www.americanexpress.com/amex/ca/en/merchant/index.html
(Canada)
Discover
www.discovernetwork.com/merchants
Square provides ways to process credit card transactions anywhere
using their tools. One option is using their small card reader accessory
that plugs into your mobile device, enabling you to swipe cards and
receive payment through your phone or tablet. Customers will receive
copies of their receipts via email. A newer device allows you to read
chipped credit cards or accept payments with contact-free devices.
Read more about their services at https://squareup.com.
DirectPay is another way to get merchant account credit card services,
and offers a variety of other tools useful to the professional book
publisher, including online shopping carts and the ability to accept
payments on-the-fly with a swipe reader accessory to your smartphone;
such services are very useful for ‘back of the room’ (BOR) sales of your
products, if you were, for instance, attending a special interest event
such as ComicCon to sell your books. Read more about their services at
www.directpayinc.com.
5.2.2 Accepting Payment Online
You may choose to accept payments online through services such as
PayPal (www.paypal.com) or Google Pay (https://pay.google.com).
Typically, these services charge a greater “discount rate,” which is
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what the banks and credit card companies call the 1.5 to 3 percent they
withhold from your payments. And the purchase must usually be made
online. Still, there may be instances when you are doing business online
with some of your clients, and it may be useful then. Also, it provides a
safe route for conveying financial information over the Internet.
There are no monthly service or other account-related fees, but you will
surrender a small percentage of each transaction to a service like PayPal.
If you would like to accept credit card payments through PayPal, there
is an additional small charge per transaction (1.9%-2.9%) plus an
additional 30 cents per transaction. There is a small cross-border fee of
up to one percent applied to foreign payments, but this is waived for
funds coming from the U.S. to Canada. To find out more about PayPal’s
services visit their website and click on “Merchant Services.”
For more on setting up for e-commerce, see section 6.1.2.
5.2.3 Order Fulfillment
“If you are only selling a few books a month, there is no real strain to
filling orders. But if your marketing has been effective, you’ll be doing
a lot of shipping. Then your time for marketing and planning your
next great book get limited. Make sure you evaluate your needs once
a month. Don’t get stubborn about a model which may be obsolete in
a few months.”
—
Jacqueline Church Simonds, Beagle Bay, Inc.,
www.beaglebay.com
So an order has been placed for your book – it could be an online
order through your website for a single book or a larger order from a
bookstore. Congratulations! But what happens next? In order to ensure
happy customers and repeat business, you have to be able to compete
in terms of fast and accurate order fulfillment. Does this mean you need
to fill your garage with boxes of books and shipping materials? Well,
you can, but that’s probably the least efficient method. Even if you have
the space, this can potentially take up a lot of your time more profitably
spent elsewhere.
While you should always keep some books and shipping supplies
on hand for signings, personal appearances, and other occasions that
may arise, most of our experts recommend outsourcing the day to
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day fulfillment services. This includes inventory storage, shipping,
invoicing, and processing returns so that you can focus on the creative
and marketing aspects of your business. If you’re working with a
distributor, they will handle this for you (more on distributors and
wholesalers in the next section). If not, you still have options.
Fulfillment companies, unlike distributors, do not actively “sell” your
book – they simply process and fulfill the orders. Think of them as an
offsite freelance staff of sorts with a very specific area of expertise. They
warehouse your books for a monthly fee and you refer all orders to
them for handling in a timely and professional manner. Remember, this
is all they do, so these operations generally run very seamlessly.
Professional shipping operations can benefit you in numerous
ways, including limiting damage to books in transit, which can be a
potentially costly headache if you’re handling your own shipping.
Most fulfillment companies can also handle credit card processing for
you if you choose not to open your own merchant account as described
earlier in this chapter. You simply provide their contact information on
your website for orders and then wash your hands of the whole thing.
Or, if you do your own credit card processing, you simply forward the
orders through your shopping cart software.
Some printers will also handle order fulfillment for you, which helps
to further streamline the process and minimize costs. And of course, if
you’re going POD, one of the major benefits is that you don’t have to
worry about warehousing or shipping at all. Books are only printed
upon order and fulfillment is handled by the printer.
In addition to the cost of their services and fee structure, other criteria
to consider in choosing a fulfillment company include:
• Ease and timeliness of communication (do they offer a 24/7 toll-
free call center?)
• Accuracy and speed of order processing
• Experience with publishers of your size/order volume
• Size of staff
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• Location (this impacts both shipping costs and transit time)
The late Keith Shay of Ware-Pak blogged on this subject at www.warepak.com/blog/ecommerce-book-fulfillment/e-commerce-fulfillmentservices. Check out Ware-Pak‘s fulfillment services at www.ware-pak.
com/fulfillment-services.
BookMasters (www.bookmasters.com) is one of the most highly
recommended fulfillment operations in the business, and they offer
printing and distribution services as well if you’re looking for a quality
“one stop shop” approach. You can also find a very comprehensive list
of book fulfillment companies on John Kremer’s Bookmarket web site
at www.bookmarket.com/4.htm.
5.3 Getting Your Books Into Bookstores
and Libraries
Sure, it’s nice to sell some copies through your own web site, but rightly
or wrongly, most new publishers see getting their books on bookstores’
shelves as the holy grail of publishing. This option may or may not be
worth pursuing, however, depending on your product and goals.
“Bookstores (brick-and-mortar places, not online ones) will demand a
return policy, whereby they can return any books up to 6 months. This
is a risky business environment for a start-up publisher since a costly
print run could have a significant number of returns, thus eliminating
any profit. If your $16 book after production ($4), marketing and
distribution ($1) and discounts ($9) only makes $2, then one return
out of 2.5 sold means no profit.”
—
Sam Hendricks, Publisher, Extra Point Press
In this section, we’ll take a look at the path to placement in brickand-mortar bookstores, should you decide to go this route. We’ll
also explain how to get your books listed on Amazon and with other
online retailers, which most of our experts indicated can be a far more
profitable proposition for the new independent publisher.
5.3.1 Working with Wholesalers and Distributors
“The thing to remember is that marketing books falls into two areas.
The “sell in” (to booksellers) and the “sell through” (to consumers).
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Wholesalers do little more than to sell in. Booksellers want to know
how you, the publisher, are going to drive consumers into their store.
Whatever margin you give up to have distributor reps actually visit or
call booksellers is sell in. So your choice is to either use a distribution
group, or wholesale marketing. It would be a luxury to do both.”
—
Roger S. Williams, Literary Agent,
Publish or Perish Agency
While it may be possible to get your books into some independent
bookstores without a wholesaler or distributor (see www.bookmarket.
com/bookstores.htm for an exhaustive list of indie booksellers in a
variety of categories), in most cases you will need to work within this
system in order to gain access. Wholesalers and distributors are the
major channels through which you, as an indie publisher, can make
your titles available to the major brick-and-mortar bookstores, as well
as to libraries.
Keep in mind if you’re planning to work with a distributor, it’s best
to make these arrangements before your book goes to press so you
have a plan in place and can ship the books directly from your printer
(if these functions are not being handled by the same company).
We’ve already discussed the basics of the standard discount system.
But as a new small publisher or self-publisher, how do you find a
distributor to represent your work to bookstores, and how do you get
into the major wholesalers? What is the difference between the services
a wholesaler provides versus those of a distributor, and do you need to
have either or both?
The major distinction between a distributor and a wholesaler is that
a distributor will actually sell your book. Large publishing houses,
like the Big 6, maintain their own sales force with reps whose sole
responsibility it is to develop relationships with all the major retail
outlets. They do the actual networking, leg work, and contact building
involved in representing their publishing catalog to the retail stores’
buyers. The distributor fills this role for the small publisher, as well as
providing fulfillment services (as we discussed in an earlier section).
Once they sell the book to a bookstore (or Costco, or any other retail
outlet), they also ship them, bill them, and handle returns.
A wholesaler, on the other hand, does not reach out to buyers on
your behalf. They simply act as a middle man, listing your book in
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their catalog along with thousands of others and making it available
for order by bookstores and libraries (who may or may not ever find
it there, let alone order it, depending on your marketing efforts).
The wholesaler may work either with a distributor, or directly with
the publisher. While you’ll pay less by going the wholesaler-only route
rather than making a deal with a distributor to work on your behalf,
odds are you’ll sell far fewer books this way unless you have your own
sales team. The wholesalers do not sell or promote your book in any
way, so without any kind of track record or major publicity campaign,
it’s unlikely bookstores’ buyers would take notice. In addition, it can be
difficult for a new publisher to get their books accepted by the major
wholesalers.
If you’re interested in learning more about the advantages and
disadvantages of wholesalers and distributors, one of our contributing
experts, Jacqueline Simonds of Beagle Bay, Inc. has provided an
excellent resource on the Association of Publishers for Special Sale’s
site at http://community.bookapss.org/page/faq-distributors.
The two major national wholesalers you need to be aware of are Ingram
(www.ingramcontent.com), the top trade wholesaler (i.e. they deal
with the bookstores) working with more than 25,000 publishers, and
Baker & Taylor (www.btol.com), the primary wholesaler for the library
market. Getting into Baker & Taylor in order to reach the library market
is a simpler process since there are is no minimum number of titles you
must publish, nor is their any ban on self-published books. If you’re
not working with a distributor, you can list your books directly with
them. One-time start-up fee ranges from $125 to $450 depending on
the plan you choose, but you will receive a discount as a member of
IBPA or SPAN. New title information must be submitted 6 months
before publication. Learn more and complete the form to establish a
relationship with B&T here: www.btol.com/suppliers_supplier_info.
cfm.
One of our expert contributors, Hallie Warshaw, whose company
specializes in nonfiction for teens and tweens, has found libraries a
relatively receptive market and offers the following tips on getting their
attention:
“One of our most effective marketing tools has been e-newsletters into
one of our core markets, which are libraries. Also, going to their trade
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shows and attending their conferences. Since the library market is a
very big market for children’s books, it’s not difficult to market into
this channel.”
—
Hallie Warshaw, Publisher and Creative Director,
Zest Books
Bookstores may be a more difficult sell. In order to have any chance of
making a go of it in the bookstores your books absolutely must be listed
in Ingram’s database. The problem for new publishers is that Ingram
won’t accept books from publishers with a list of fewer than 10 titles.
At least not directly. There are, however, several ways around this.
Getting Into the Ingram Database
The simplest way to get into Ingram as a new small publisher is to
contract with a distributor that already has a relationship with them.
Make sure this is spelled out before signing a contract and ensure the
distributor, whether small or large, has been in business for a while and
has a solid reputation.
Some printers also offer distribution services that get you an
automatic in with Ingram. If you’re printing your book POD with
Lightning Source (www.ingramcontent.com/publishers/lp/lightningsource), for example, they have access to Ingram because they are a
subsidiary. You’ll also save on shipping by using the same company
for printing and distribution. If you choose their Print to Order service,
Lightning Source can act as a wholesaler and ship your books directly
to Amazon or Barnes & Noble and any number of other 3rd party
sellers without you having to take delivery from your printer and
then having to pay for shipping to your distributor. Another benefit
is that Lightning Source also offers your book to the worldwide
market through The Book Depository (www.bookdepository.
com), which allows customers outside the U.S. to purchase your book
without paying exorbitant overseas shipping fees.
BookMasters, mentioned previously, is another respected distributor
(and printer) that has such an arrangement with Ingram, as does Small
Press United (www.smallpressunited.com), which is an arm of the
major distributor Independent Publishers Group (IPG). While you may
find it a tough road getting accepted by many of the larger distributors
as a new publisher, SPU is affiliated with IBPA (in fact, if you sign up
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with SPU, a free membership in IBPA is included) and is geared toward
start-up publishers. They do, however, have very strict criteria for
acceptance, which can be reviewed here: www.smallpressunited.com/
generalguidelines.html.
In addition to the above, literary agent Roger Williams, a former
bookseller and sales director at major publishing houses with over
30 years experience in the industry, suggests the following notable
distributor consortiums:
• National Book Network
www.nbnbooks.com
• Consortium Book Sales & Distribution
www.cbsd.com
• Publishers Group West
www.pgw.com/home
One downside to working with a distributor, in addition to the added
cost, is that most of them will require an exclusivity agreement. They
have the sole rights to distributing your book both in print and online.
This means not participating in the Amazon Advantage program (more
on this in the next section). However, as long as your distributor deals
with all of the major outlets, like Amazon, this should not be a major
concern.
While distributors may offer some advantage over wholesalers, it’s
important not to confuse selling with marketing. Even when working
with a distributor, you are still responsible for your own marketing.
Without an organized marketing campaign that creates buzz and reader
demand, a distributor may get your books on the shelves, but that
doesn’t mean they’ll sell. A high return rate is an unfortunate reality
for many new publishers and authors who don’t grasp this important
point.
Returns
So your distributor has gotten some bookstore orders for your titles
and those books are moving out of the warehouse and onto the shelves.
Great! However, an unfortunate reality in the publishing industry is
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that you might just see those books again due to returns if a bookstore
can’t move the product. When you sign a contract with a distributor or
wholesaler, in addition to offering a discount, you will establish your
company’s return policy. A return policy is often a condition of sale to
retail outlets, and enables stores to return (either directly to you or to
your distributor) any of your books that they’re unable to sell.
The average return rate is between 20% and 30%, and for many new
publishers this rate can be much higher – as much as 50% or 60% if you
haven’t spent adequate time on market research and promotion. This
can eat significantly into your profits since no money is earned on these
returns – you’re simply out the production and shipping costs.
In theory at least, books should be returned to you (or your distributor)
in good condition so that they can be restocked. Ironically enough,
the same bookstore that returned the books may end up re-ordering
them. Others end up languishing in the distributor’s warehouse and
are eventually pulped. It’s a decidedly inefficient and expensive system
for all parties involved.
Most POD publishers (i.e. CreateSpace, Lulu, iUniverse) do not offer a
return policy as part of their standard contract, but you can sometimes
pay a hefty extra fee for the privilege. Unfortunately, unless you sell
a lot of books, a return policy alone is not going to be your key to
bookstore profitability, or even entrance. If you’re printing POD with
Lightning Source, however, you’ll be able to set your own return policy
and will be listed with Ingram whether you have such a policy or not
since Lightning is their subsidiary.
The most important fact to take away about returns is how to limit
them. The short answer is marketing. It’s not enough to do pre-release
marketing on your books -- if you want to keep them on the shelves
longer you have to create ongoing demand. See chapter 6 for book
marketing strategies.
5.3.2 Amazon and Other Online Retailers
The reality in the publishing business is that shelf space in brick-andmortar bookstores is shrinking as they make way for other products
that will attract customers in an attempt to revive their flagging
business.
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The bookstores’ loss, however, appears to be Amazon’s gain. Amazon
continues to report double-digit sales gains and remains a leader in the
online retail business. For a new independent publisher, online retail
helps to even the playing field. There’s no competing for shelf space or
for better placement in the store – your books are listed right along side
the big sellers, so you have a much better chance of being found online.
And, while a brick-and-mortar bookstore can order any title for a
customer, let’s face it, if you’ve gone to the trouble to go to a physical
bookstore it’s because you want the book immediately. When customers
are looking to order, they’ll generally go online.
As mentioned previously, if you’re working with a distributor and
have an exclusive contract (as most will require), they will handle
your placement with Amazon, BarnesandNoble.com, and other major
online retailers. Wholesalers like Baker & Taylor and Ingram will
also automatically make your book available through Amazon. If
you’re going the e-book only route, Smashwords will also make your
e-books available through Amazon, BN.com, and Apple. Alternatives
to Smashwords (www.smashwords.com) include Draft2Digital
(www.draft2digital.com) and Pronoun (https://pronoun.com), but
after investigation (as Laurie Boris did; see her blog posts at www.
indiesunlimited.com/2016/07/19/whats-smashwords-good-for and
www.indiesunlimited.com/2014/11/10/thoughts-from-a-newlyconverted-draft2digital-user) you may find that the industry leader
Smashwords provides the most comprehensive service package.
Be sure to research other’s experiences before you decide; there’s no
need for you to re-invent the wheel. Look to bloggers like https://
robinvanauken.com/why-i-broke-up-with-smashwords, https://
davidgaughran.wordpress.com/2013/08/27/choosing-the-rightdistributor-smashwords-vs-draft2digital, and https://tragicbooks.
com/2017/01/02/my-experience-self-publishing-with-createspaceblurb-kindle-lulu-smashwords-and-peecho for current advice.
If, however, you’ve decided to by-pass the physical bookstores
altogether and focus strictly on online sales, you can easily list your
books on these sites yourself in order to increase your profit margin,
and you do not have to publish with Amazon’s self-publishing arm,
CreateSpace, in order to do so.
Once your books are listed on Amazon, whether through your
distributor or the Advantage program, be sure to sign up for Author
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Central, where you can manage additional features, such as adding and
updating your author bio and photo, writing a blog to connect with
readers, and uploading cover images: https://authorcentral.amazon.
com.
Amazon Advantage
As with physical bookstores, Amazon does not actually buy books from
you – the arrangement is on a consignment basis. With the Amazon
Advantage program, you simply sign up for an account and list the
print books you wish to sell and Amazon orders enough copies from
you to meet expected demand. They will contact you when their stock
is low for replacement copies so the product page will always read
“in stock” when customers view it. You (or your warehouse, printer,
or wholesaler) ship the requested copies to Amazon’s warehouse and
they handle the order fulfillment and processing from there. And, if
you’ve ever ordered anything from Amazon, you probably wouldn’t
argue with their assertion that Amazon has one of the most advanced
fulfillment centers in the world and provide fast and accurate service.
According to their current contract, Amazon pays the publisher on a
monthly basis for any sales 30 days after the units are sold. The current
annual fee to enroll in Amazon Advantage is $99. For this annual fee
you may list as many titles as you would like. Amazon also requires the
standard 55% discount, which means you receive 45% of the list price
which you set (see the earlier sections in this chapter on pricing and
standard discounts). If Amazon chooses to discount this list price to its
customers, this comes out of their percentage. You pay shipping charges
from your warehouse to Amazon’s distribution center, but not the cost
of shipping from Amazon to the customer. For more information and to
enroll online, visit www.amazon.com/gp/seller-account/mm-productpage.html?ie=UTF8&topic=200329780.
Kindle
Even without joining the Advantage Program, you can still sell your
digital books in Amazon’s Kindle Store, which currently boasts an
impressive 80% (be sure to check out http://fortune.com/2016/12/30/
amazon-kindle-digital-self-publishing) of the e-book market. Amazon
recently improved their royalty offerings and authors now can earn as
much as a 70% royalty on all Kindle sales to U.S. customers. Keep in
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mind, however, that books must have a minimum list price of $2.99 to
qualify for this rate. For lower priced books, you receive a 35% royalty.
Visit Kindle Direct Publishing at https://kdp.amazon.com; at press
time, a 95-page pdf guide is posted at https://kindlegen.s3.amazonaws.
com/AmazonKindlePublishingGuidelines.pdf to let you in on the
details.
A number of people are selling their services to authors who wish to
self-publish on Kindle but don’t wish to learn how. We recommend
that—as an independent publisher—you settle down and learn the ins
and outs for yourself, if Kindle is an avenue you want to travel. Again,
there’s no need to re-invent the wheel; learn from others at links such as:
• www.techradar.com/news/portable-devices/kindle-self-
publishing-free-but-at-what-cost-1061826
• www.theindependentpublishingmagazine.com/2016/12/what-
to-expect-when-youre-publishing-on-amazon-kindle-store-acde-fombelle-guest-post.html
• www.justpublishingadvice.com/amazon-kindle-crackdown-on-
ebook-quality
• www.betterbythought.com/truths-kindle-direct-publishing-
experts-wont-tell
As mentioned previously, if you’re not especially comfortable with this
technology, you can always utilize a service such as Smashwords, or
hire a company that strictly does e-book conversions in a variety of
formats.
BarnesandNoble.com
Where Kindle is the e-reader at Amazon, Nook (www.barnesandnoble.
com/b/nook/_/N-1pbl) is the e-reader counterpart at Barnes & Noble,
although B&N has certainly had a difficult time of it recently. After
a miserable spring 2016 (http://diginomica.com/2016/03/07/bnnukes-the-nook-with-a-15-march-deadline-for-customers-to-savetheir-content), B&N relaunched the Nook in late November 2016,
only to be hit almost immediately with a recall (https://9to5google.
com/2017/01/13/barnes-nobles-nook-7-tablet-recall-2).
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Nook Press (www.nookpress.com) is the publishing arm of Barnes and
Noble’s Nook e-reader, and has recently (see www.digitalbookworld.
com/2016/barnes-noble-launches-nook-press-self-publishingplatform and www.bookbusinessmag.com/post/interesting-twist-bnsell-self-published-books) branched out from ebooks to print books.
Whether B&N will make a go of this remains to be seen. Check out
experiences of others; for instance author Carmen Webster Buxton
compares her experiences at Amazon vs. B&N at http://carmenspage.
blogspot.com/2016/10/barnes-noble-nook-press-print-vs-amazon.
html.
Apple and iBook Store
The Apple iBook Store (https://support.apple.com/ibooks) is also open
for business, but also has problems in competing against Amazon’s
Kindle; see for instance www.talkingnewmedia.com/2016/08/12/sevensteps-to-fix-apples-house-of-horrors-the-ibooks-store. Nevertheless,
you might choose Apple iBook Author as an ebook publishing avenue;
the Apple page at https://support.apple.com/ibooks-author introduces
you to the topic.
You must have an Apple computer to use iBooks Author. MacIntosh
users will enjoy the early 2016 article by Lesa Snider at www.macworld.
com/article/3027531/software/essential-tips-for-creating-your-ownebooks.html. You might be interested in attending the iBooks Author
Conference; see www.ibooksauthorconference.com for info. And in
this arena as well you should look to the experience of other users;
recent helpful posts at press time include:
• www.thebookseller.com/futurebook/how-ibooks-author-
quietly-winning-innovation-game-328075
• www.thecreativepenn.com/2016/04/07/sell-more-books-on-
ibooks
• www.perkinselearning.org/technology/digital-transitions/how-
create-ibook-using-ibook-author-app
TIP:
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Are you a bit intimidated by the technology of publishing
ebooks? Unfortunately, it’s beyond the scope of this guide to
train you in the intricacies of so many different platforms.
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Remember: You can find many online tutorials and courses
at Lynda (www.lynda.com), Udemy (www.udemy.com),
and Coursera (www.coursera.org).
5.4 Financial Management
5.4.1 Bookkeeping
We did not speak to a single business owner who enjoyed keeping
books, but all of them stressed the importance of doing so. Maintaining
accurate, up-to-date records can help you run your business more costeffectively and efficiently. By keeping track of how much everything
costs, you’ll quickly know what marketing efforts don’t pay off, and
what types of book projects are worth pursuing as you build your list.
Keeping your books includes tracking two things:
• How much money you have coming in
• How much money you have going out
Bookkeeping Systems
Some people prefer to keep track of everything manually. Many
business owners simply buy a few journals, write their accounts across
the top and enter each month’s expenses by hand. This method works
well if you are organized, and love the feel of pen on paper. But if you
have employees, several sources of income, and a steady flow of traffic
through your store, you’ll soon forget a few months, and it will become
a monster lying in wait for you in your desk’s bottom drawer.
When in doubt, get some help with your bookkeeping efforts. One
solution is to invest in small business accounting software. Popular
software packages such as these have excellent training available and
can be purchased for a moderate price:
• Quicken
www.quicken.com
• Quickbooks
http://quickbooks.intuit.com
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• Sage (formerly Peachtree)
www.sage.com/us/size/small-business
These powerful, bundled software packages can help you manage the
following accounting functions:
• Accounts payable
• Accounts receivable and collections
• General ledger, balance sheet, and cash flow
• Invoicing and billing
• Payroll
• Report generation
• Stock and inventory
• Tax deductible expense tracking
In addition to these functions, a program like QuickBooks lets you
import all of your financial data into its QuickTax program, to make
your tax filing simple and painless.
Publishing Software
In addition to basic bookkeeping software, you may wish to invest in
accounting software designed specifically for publishers. Depending
on the size of your publishing operations, there are a range of products
available at different price points and with various levels of flexibility
and integration with basic programs like QuickBooks. These programs
can help you create royalty statements, keep track of fulfillment data
(whether handled by you or a distributor) and subsidiary rights, and
manage Title P&Ls. Several programs recommended by experts for
small to mid-sized publishers include:
• iPUB
www.ipubtech.com
• Publishers’ Assistant
www.pubassist.com
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• DashBook
www.dashbook.com
• AnyBook
www.ronwatters.com/RonSoft.htm
Even though software can make most of the work easier for you, you
might consider taking a beginning accounting or a bookkeeping class at
a local community college. Accounting basics are vital information that
all business owners need, but sometimes neglect to learn. Even if you
hire someone to do your books, you’ll need to know the basics so that
you can understand what is going on in your accounts.
You might consider hiring a part-time bookkeeper on a contract basis
if you find yourself so busy publishing that you don’t have time to do
your books yourself. Depending on how busy you are, it may take the
bookkeeper a few hours per week to get your books up to date and
balance them with your bank statements. You can find a bookkeeper
through word of mouth or your favorite search engine.
Even if you plan on having a fulltime bookkeeper or accountant, you
should know enough about your business’ books to be able to do them
yourself if you need to, and certainly to be able to check the accuracy
and honesty of those whom you employ.
You should know how to:
• Make a daily sales report of how much money you take in every
week
• Make accounts payable and accounts receivable reports
• Make and read an income statement (also called a profit and loss
statement)
• Make and read a cash flow statement
• Understand a balance sheet
The following sections will help you to understand more about these
business basics.
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5.4.2 Financial Statements and Reports
Income Statement (Profit and Loss Statement)
Your income statement (also called a profit and loss or P&L statement)
will tell you how much money you have in expenses and how much
money you have in revenue for a given period. A number of things are
necessary for an income statement.
You’ll need to know:
• Your revenues for the period (gross sales minus returns and
discounts)
• The cost of goods sold (what it cost you during the period to
produce and distribute your books)
• Your gross profit (revenues minus cost of goods sold)
• Your operating expenses (everything you must pay for to operate
your business, including non-cash items like depreciation)
• Your net profit before and after taxes (revenues minus your
operating expenses, and then subtract your tax liability)
The end result will tell you how much money your company is making
— what is commonly referred to as “the bottom line.”
On the next page is an example of a typical income statement.
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Sample Income Statement
Income Statement [Company Name]
for month ending July 31, 20__
REVENUE ($)
Online sales
Bookstore sales
Other sales
5,250
1,600
150
Total Sales $7,000
COST OF GOODS SOLD
Inventory and material purchases
Shipping
Supplies
1,800
50
150
Total cost of goods sold $2,000
GROSS PROFIT
$5,000
EXPENSES
Lease
Insurance
Licenses & taxes
Office supplies & postage
Interest
Utilities
Wages
Telephone and Internet
Depreciation
Vehicle expenses
Repairs & maintenance
1,850
75
250
100
95
225
550
115
55
220
65
Total Expenses $3,600
Net Income for the Month
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Title Profit and Loss Statement (Title P & L)
In addition to doing a general profit and loss statement to keep track
of expenses and income for your business as a whole, most publishers
create an estimated Title P&L for each book while in the planning
stages to determine its potential for the company. This report is used
to help you:
• Decide whether or not to acquire a particular title
• Determine the retail price
• Determine the size of your print run
• Make decisions about where costs can be cut to increase profit
margin
You may also wish to run a Title P&L prior to the book’s release, and
later in the process to compare a book’s actual performance against the
rest of your list and against industry averages for comparable titles.
The specific information contained in a Title P&L may vary somewhat
from publisher to publisher, but the basic data that should go into your
analysis includes:
• Estimated revenue the book will generate
• Estimated cost of production (including design, printing,
shipping, and author royalties)
• Sales and marketing costs (including advertising, distribution,
and fulfillment fees)
You can use a simple Excel spreadsheet to create a basic template that
can be used for all your Title P&Ls. If you’re using publishing software
it will likely come with the capability to create this report.
To get started on creating and analyzing a title’s profit and loss
statement, consult sources such as:
• http://gropenassoc.com/blog/2009/11/a-typical-trade-titles-pl
• https://janefriedman.com/book-pl
• http://pimpmynovel.blogspot.com/2009/10/p-1-of-4-basics.html
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• http://aaupwiki.princeton.edu/index.php/Book_Publishing_
Accounting:_Some_Basic_Concepts
• https://microcosmpublishing.com/blog/2016/08/business-of-
publishing-how-to-write-a-pl-statement
If you wish to go beyond the basics and learn about creating a Title
P&L for a larger publishing operation, see Thomas Woll’s excellent
explanation, tips, and example in Publishing for Profit: Successful BottomLine Management for Book Publishers.
Cash Flow Statement
The cash flow statement allows you to quickly see whether more cash is
coming in than going out, or vice versa, at the end of each month. It also
allows you to make projections for certain periods of the year (such as the
winter months when you might have increased sales due to the holiday
season), or project cash flow year-over-year, and budget accordingly.
You can also use it to track monthly cash flow and make projections
for the coming month. This is handy if you’re planning to make a large
equipment or inventory purchase or hire additional help for a mailing or
other special project and need to know if you can afford it.
Cash flow is an important element of your financial picture. Monitoring
cash flow lets you see how well your business is doing from day to
day. Are you paying expenses with the money you take in from your
operating revenues, or are you paying for expenses with other business
funds such as banked working capital? If you are doing so with the
former, your business is self-sustaining.
To keep track of expenses, you will need to keep copies of all receipts.
This can be a challenge for new business owners who might have a habit
of tossing out receipts for small items or not asking for receipts in the
first place. However, you are likely to have numerous small expenses
related to your business, and these can add up over time. These expenses
should be accounted for so you can minimize your taxes. And, of course,
knowing exactly where your money is going will help you plan better
and cut back on any unnecessary expenses. So make it a habit to ask for
a receipt for every expense related to your business.
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Here is a sample six-month cash flow worksheet for the first six months
of operation.
Sample Six Month Cash Flow Worksheet
Month
1
2
3
4
5
6
Total
Starting Cash
Cash Receipts
Cash sales
Credit card receipts
Total
Cash Disbursements
Start-up costs
Advertising
Bank charges
Fees & dues
Fixed assets
Insurance
Loans-Principal
Loans-Interest
Licenses & Taxes
Returns
Office supplies
Professional fees
Rent
Repair & maintenance
Telephone & internet
Utilities
Wages & benefits
Owner’s draw
Monthly Surplus or Deficit
(Cash less Disbursements)
To Date Surplus or Deficit*
[Monthly surplus/deficit to date is calculated by carrying through any deficit
or surplus from month to month]
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Accounts Payable/Receivable Reports
Accounts payable are those accounts that you must pay — the money
or bills your business owes. Accounts receivable are any accounts that
are owed your business — the money that others owe you. Accounts
receivable reports can vary widely depending on how you do business.
For instance, accepting credit cards or selling over the Internet will
affect how this report looks. And you may sell more at certain times
than at others.
Accounts payable reports will tell you what bills you owe and when
they are due. It’s important to know clearly what you owe before you
make any additional purchases. You have to be able to pay all your
incoming bills and still have enough money for the other things you
need to purchase for your business. An accounts payable report will
help you to schedule when you will pay your bills, and will help you
make sure nothing is neglected or forgotten.
Balance Sheet
A good metaphor for a balance sheet is that it is a snapshot, like a
photograph, of your business taken at one moment in time. A balance
sheet is the quickest way to see how your business is doing at a glance.
It shows you what you own and what you owe. In other words, it is a
balance of your assets against your liabilities.
The balance sheet consists of:
• Assets (the items you own including your inventory)
• Liabilities (what you owe)
• Owner’s Equity (what you’ve put into the business)
Types of assets are current assets and fixed assets (long-term and capital
assets). A current asset is something that is acquired by your business
over your business’s fiscal year and will probably be used during that
period to generate more revenue. Inventory, prepaid expenses such
as rent already paid, and accounts receivable are examples of current
assets. A fixed asset is an item that doesn’t get used up quickly such
as land, buildings, machinery, vehicles, long-term investments, etc.,
whose value is depreciated over time.
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There are two types of liabilities: current and long-term. A current
liability includes all those bills waiting for you to send a check out,
such as utilities, short-term loans, or anything else payable within
twelve months. A long-term liability is something that will be paid over
a period of time longer than twelve months, for instance, a mortgage, a
long-term equipment lease, or a long-term loan.
Owner’s equity is anything you’ve personally contributed to (invested
in) the business or any profit that remains in the owner’s account that
you have not drawn out in wages for yourself. If you used money from
your personal accounts, or put your own assets into the business’s
inventory, the business “owes” you and it is recorded in this section of
the balance sheet.
On the following page, you’ll find an example of a typical balance sheet.
Note that assets balance exactly against liabilities + owner’s equity.
Also note that owner’s equity equals assets minus liabilities.
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Sample Balance Sheet
Balance Sheet [Company Name]
As at June 30, 20__
ASSETS
Current Assets
Cash
Accounts Receivable
Inventory
12,200
1,000
80,000
Total current assets 93,200
Fixed Assets
Furniture
Vehicle
3,500
20,000
Total fixed assets 23,500
TOTAL ASSETS
$116,700
LIABILITIES
Current Liabilities
Accounts Payable
Taxes Payable
Loan (short-term)
Current Portion of long-term loan
5,000
2,225
12,500
667
Total Current Liabilities 20,392
Long-term liabilities
Loan
35,000
TOTAL LIABILITIES
55,392
OWNER’S EQUITY
Capital – Owner’s Deposits
Less Owner’s withdrawals
Net Income/Loss
90,000
(32,500)
3,808
Total Owner’s Equity 61,308
TOTAL LIABILITIES AND OWNER’S EQUITY $116,700
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6. Marketing Your Books
“I think that a lot of folks think about marketing a book last instead of
keeping this in mind when choosing their subject matter. You have to
be willing to commit to marketing and promoting your book at least
three times a day for the first two years.”
—
Linda F. Radke, President, Five Star Publications, Inc.
Holding that first printed copy in your hands (or admiring your
masterpiece on your e-reader of choice) after navigating the
challenging publishing waters is inarguably a tangible measure of your
accomplishment, and one of which you should be proud. However, if
your goal is to share your work with others, and perhaps make a profit
along the way, producing a quality book is just the beginning!
Sure, a few folks may accidentally stumble upon your website and be
intrigued enough to buy your book, or may find it while browsing on
Amazon. But after all you’ve invested in your book, do you really want
to rely on chance? If you hope to build a lasting publishing business
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with a successful catalog of books, not just one title, you also need to
start thinking in terms of building your brand.
Marketing and promotion will be one of your most important – and
ongoing -- tasks as an independent publisher. Many publishers and
authors who are less comfortable with this aspect of the business choose
to seek professional guidance. Publisher Kimberley Debus offered the
following:
“I got into publishing because I love editing and design. I did NOT
get into publishing because I love publicity and marketing – and it’s
still my weak spot. But there are people who do this well, and so I hire
them. It relieves my stress and anxiety, and frees my time to do the
work I love.”
—
Kimberley Debus, Publisher, Mélange Press
Getting your books out there in the public eye will require you to
be organized and proactive, whether you choose to take on these
responsibilities yourself or hire a marketing or PR pro to help with
the job. Even authors who publish their works with major publishing
houses, unless they are big names, typically have to take on the brunt
of the marketing work and learn how to interact effectively with the
media. A PR person may use their connections to get you into a major
bookstore for a signing or get you an interview with a magazine, but
ultimately the author is still the public face of the book. This section
outlines a variety of marketing tools and techniques you can try, but
first we’ll start with an overview of how to target your marketing
efforts.
Determine Your Target Market
If you’ve followed the steps outlined in this guide, you’ve already done
market research to determine the potential audience for your book and
ultimately your goal is to reach these consumers. In order to determine
which of the following tools will be most effective for you in doing that,
however, spend some time considering which avenues might help you
reach your target readers in the greater numbers. Good targets for your
promotional efforts might include:
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• Professional associations (if your nonfiction book deals with a
topic of interest to a particular group, it can be useful to target
these organizations for your mailings)
• Retail outlets other than bookstores (your book on the best places
to hike with your dog will stand out far more in a pet store or a
store that sells hiking gear than it will in a bookstore)
• Influential reviewers (getting your book reviewed is great free
publicity and a source of “blurbs” for your web site and book
cover – more on this later in the chapter)
• Book clubs (no, we’re not talking Oprah here – but becoming a
book of the month club selection is also great promotion for your
book, beyond the sales it directly generates to members)
• Experts in your field (a recommendation from an influential
expert can potentially sell a lot of books, as can a university
professor using your book as required reading for a class they’re
teaching)
• Other publishers / producers (selling subsidiary rights, such as
audio or film rights, or the rights to publish a translation of your
work in a foreign country, can provide an added income source)
Once you have decided where you want to target your marketing
efforts to begin with, you can prepare materials and plan marketing
activities that will most appeal to those groups. As you gain more
experience and gauge the results of your initial marketing efforts, you
may choose to branch out to different markets or fine tune the focus
of your approach. Don’t be afraid to try different methods and get as
much feedback as you can along the way. However, starting with some
specific target markets in mind can help you focus your marketing
efforts most efficiently – saving you both time and money.
6.1 Marketing Tools
When you start a new business, you will have to invest in some business
promotional tools at the outset. These tools should be designed in a
way consistent way to promote both your business and the style of
your business; this includes the choice and use of a logo.
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An attractive logo is an important part of branding your business; a
logo may be used to tie together all your printed materials as well as be
displayed on your website. There are companies such as DesignContest
(www.designcontest.com/logo-design) and Fiverr (www.fiverr.com/
categories/graphics-design/creative-logo-design) that help you find a
logo designer for a reasonable price. If you have a concept for a logo in
mind and you feel creative, you can design your own logo. Logo design
software such as Logo Design Studio (www.summitsoft.com/logocenter.html) or LogoMaker (www.logomaker.com) can be obtained for
around $50.
6.1.1 Printed Materials
Your printed materials include business cards, stationery (such as
letterhead, envelopes, and mailing labels), and other marketing
materials such as brochures.
If you have a computer with a high quality printer, you may be able
to inexpensively print professional looking materials from your own
computer. Free templates for the print materials you are likely to need
in your business can be found online.
An excellent resource is the Microsoft Office Online Templates
Homepage at http://office.microsoft.com/en-us/templates. At this site
you can search a database to find templates for:
• Business stationery (envelopes, labels, letters, memos, etc.)
• Marketing materials (brochures, flyers, newsletters, postcards,
etc.)
• Other business documents (expense reports, invoices, receipts,
time sheets, etc.)
As an alternative to printing materials yourself, and for materials
that won’t fit through your printer (such as folders), consider using
a company that provides printing services. Beautiful stationery can
convey to prospective clients that you have a good eye and a high
standard of excellence. Your printed materials can be easily designed,
paid for and delivered without leaving the house. Here are links to
some companies that provide printing services for small businesses:
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• FedEx Office
www.fedex.com/us/office/online-printing-services.html
• The Paper Mill Store
www.thepapermillstore.com
• Vistaprint
www.vistaprint.com
• MOO
www.moo.com/us
• Jukebox
www.jukeboxprint.com
While the resources listed above can help with all your printing needs,
here is some advice about two types of materials that are particularly
important for marketing purposes – business cards and brochures.
Business Cards
Business cards are a definite must in any business. A business card
gives customers the essential contact information for your company,
and every time you hand one out you should think of it as a miniadvertisement. For maximum exposure, post your business card on
every bulletin board you see.
Business cards should state your name, your business name, your
phone number, your email address, and your website. If applicable,
you might list your home address as your business location, but most
people who work from home choose to leave this detail out. This
prevents anyone from bothering you after hours, or losing business
because people think you are area-specific.
The basic information to list on your business cards includes:
• Your name
• Your title (such as President or Owner)
• Your company name
• Your contact information (phone numbers, email address)
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• Your web address
In addition, consider including the following items to promote you and
your publishing services:
• Professional memberships and certifications
• Any specializations offered
• Company logo
• Your mailing address (use a personal mailbox from a company
such as Mail Boxes Etc. in lieu of a home address)
Keep business cards the standard size, 2 x 3 ½ inches, and if possible,
invest in a sturdy card that has a good weight and feel to it. The cost of
business cards can vary depending on how much or how little of the
work you do creating them.
You can hire a graphic artist to design a logo, do the layout and even
arrange for printing; most print shops have a design specialist on staff
to help with these matters. Or, you can easily do it yourself. Whichever
way you decide to go, make sure your business card is a reflection of
you and your publishing business.
Your business card should be printed on good-quality card stock, in a
font that reads clearly. You might find that a photo of you is not out of
place on your card. You should be able to get several hundred business
cards printed for less than $100. Expect to pay a bit more for gloss or
four-color printing when you include a photo.
If your budget is limited, a good source for high quality low-cost
cards is VistaPrint at www.vistaprint.com. Visit their site to see a wide
variety of designs you can consider; you can upload your logo and do
the design yourself in a matter of an hour or so.
TIP:
Check online at sites like RetailMeNot for a VistaPrint
coupon; there is almost always one available.
Once your cards are printed, always keep some on hand, you never
know whom you might run into. Keeping your business cards in a case
is more professional than keeping them scattered across the bottom of
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your briefcase or bag. It will also ensure that you only hand out pristine
cards, and not a worn or stained card.
Pass your business cards out whenever it is appropriate. Give them to
your friends, your relatives, people you meet at social functions, the
people behind the counter at your local coffee shop, your dentist, your
mail carrier. Mention that you are a publisher when handing out your
card, so that people will look at it later and make the connection. When
you send letters to people, stick a business card in the envelope.
Postcards & Bookmarks
You or your designer can also create glossy color postcards and
bookmarks (typically using your book’s cover design) to promote an
individual book title. These have become something of a standard in
the publishing industry.
In addition to your contact information, include any book awards
the title has won (or been a finalist for), book club selections, or other
testimonials and endorsements for the book (if you don’t have these yet,
don’t worry – you can use some of the techniques in this section to get
them!). Postcards and bookmarks are particularly handy for mailings
to bookstores in preparation for an author appearance, to send out with
review copies, and to hand out at book signings or trade shows.
Check the vendor resources sections of the professional association
websites listed in chapter 3 for printers who specialize in producing
these materials for publishers. Many printing companies offer postcards
at reasonable prices, and some (for instance www.postcardmania.
com and www.modernpostcard.com) specialize in both printing
and mailing them from a mailing list you provide. For promotional
bookmarks, check out sources such as:
• www.4imprint.com/tag/608/Bookmarks
• www.epromos.com/promotional-bookmarks/_/N-14226
• www.48hourprint.com/promotional-bookmarks.html
• www.printrunner.com/bookmarks/printed-bookmarks-
promotion.html
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Brochures
Brochures can be very effective at getting the word out about your
publishing company and books. Your brochure should contain basic
information such as business hours, contact information, mission
statement, and a short description of your book titles.
Some publishers choose to develop very detailed brochures while
others prefer a clean look with less detail. A brochure can explain the
finer points of your business when you are not there to do it yourself;
it should be colorful enough to catch the attention of potential authors
and clients, but not too busy; professional, flawlessly proofed,
informative, interesting, and memorable.
You may choose to have several brochures for different target markets;
for instance, if you publish a fantasy/science fiction line and also a
nonfiction hobbyist line. Along with the information found on your
business card, brochures might include:
• Information about the services you provide
• A description of your professional qualification
• A short bio and photograph of you
• Positive reviews and testimonial quotes from satisfied clients and
authors
• Your association affiliations and their logos
• Anything else that you feel gives your business credibility
What if you aren’t a writer or you have never made your own brochure
before? You can still put together a great brochure if you follow these
steps.
Get Some Examples
Networking or attending a trade show are great ways to gather
marketing materials to look at. You don’t necessarily have to see the
brochures of other publishers — any brochure that sells a service
prepared by a self-employed or small business owner is helpful for you
to view.
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Jot Down Your Ideas
These ideas can later be used to create a rough draft for your brochure.
You can also use the work you did in Chapter 3 (in which you planned
your business and chose your niche) to come up with your brochure
ideas.
Write Your Bio
A bio is a short, biographical paragraph (or two) about you. It should
include your name and company’s name; your professional focus or
specialty; your recent claims to fame; and products or services your
business offers that are especially interesting. You can save this bio and
use it with press releases, articles you write, and on your website.
Make a Rough Draft
You can make a rough draft with the information you have so far. One
easy way to do this is with a pencil and a piece of paper. Just take a
standard-sized piece of paper and fold it as your brochure will be
folded. Most brochures are three-panel brochures, so fold your rough
draft paper just as if you are folding a letter to place in an envelope.
Sketch out how you want the information to appear.
Lay it Out
Now that you have a rough draft, you are ready to move to your
computer. Some software programs like MS Publisher have “wizard”
features that allow you to move through pre-organized template steps
and simply fill in your text and add pictures and logos. If you are new
to desktop publishing, MS Word is a little easier to use, but has some
limits to it as well.
If you want to design your own brochures, you can find brochure
templates at the Microsoft Office website mentioned at the beginning of
this section. To illustrate it, you can purchase low-cost photos through
websites such as iStock (www.istockphoto.com), Dreamstime (www.
dreamstime.com), and Shutterstock (www.shutterstock.com). If you
want to publish photos of your own authors or staff, or covers of books
you have published (whether on your website or in print), be sure you
have the involved party sign a release form that gives you permission
to use the images in any of your promotional materials without
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compensation. Most people are happy to have their images used in
such a positive way but there may be exceptions. Here is a sample of a
release form you can use.
Sample Release Form
I hereby give (insert your name) permission to use my
photograph taken of me on (insert date) at (insert location) for
promotional, on-line or commercial purposes. I am of legal age.
___________________________
________________________
(Print Name) (Date)
___________________________
(Signature)
If you don’t think you can design this yourself, a printer should be able
to put together what you have in mind, for an additional cost.
After any printed materials are designed, proof super-carefully; get a
friend with a sharp eye to look, too, and let you know if any areas are
unclear. You’re then ready to find a printer and select paper.
While the challenge of designing an effective brochure is one thing,
how to effectively distribute them is another. Brochures can be
distributed by mail, handed out at networking events in conjunction
with or instead of business cards, and sent with a press release to the
local media (see section 6.2.2).
6.1.2 Your Website
“The most effective marketing tools are the involvement of the author,
a strong media kit and a dynamic website.”
—
Linda F. Radke, President, Five Star Publishing, Inc.
A website is an excellent tool for promoting your publishing company
and its titles, as well as for selling your books directly to your audience.
Some publishers even create a separate site or blog for each book and/
or author they publish. Your website lets people know what you do,
who you are, and how to contact you.
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Potential customers will judge the quality of your business and
publications by what they see on your site. Journalists may decide to
write about your books (or not) based on how professional your site
looks and whether the information they need for their story is easily
located (by providing a separate media or FAQ section, for example).
Authors may also be judging you and deciding whether or not to send
you their manuscript for consideration based on how professional your
site looks – after all, if you don’t do a good job of presenting what you
have to offer, how will you be able to promote their books?
While your website will be evolving in terms of content, it’s best to get it
up and running before you attempt any other marketing or distribution
efforts. It’s the first place people are likely to look in deciding whether
or not they want to do business with you or promote your books in their
publications. Making a professional first impression here is important
so it’s not an area where you want to skimp.
What to Include on Your Website
“I think having an “online press kit” that bookstores and distributors
can use to get more info on titles is helpful. It’s also nice to have
a way for people to get in touch with authors, such as an author
Facebook of Twitter page.”
—
David Hooper, MusicMarketing.com
Any information you would include in a brochure (described earlier
in this chapter) can also be included on your website. You should also
visit websites of other successful independent publishers to get ideas
for your own site. Here are some ideas of what to include on your
website to get you started:
• Home page to navigate through your site
• Pages for each of your books, including photos of your cover
art and authors (several of our experts suggested making these
downloadable in both high and low resolution for easy print
and online media use), providing summaries and samples of
the contents, an author bio, and any testimonials, awards, or
highlights from positive reviews.
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• “About Us” page: this is where you let your customers know who
you are, what your publishing mission is, and what expertise
you have. You may wish to include logos from any professional
publishing associations to which you belong to increase your
credibility.
• A way to contact you, including at least your company name,
telephone number and email address. This should ideally be
on every page, but you can also have a “Contact Us” page with
your business mailing address, email address and other contact
information.
• Information on how to order your books, preferably including a
shopping cart program accepting credit cards and/or PayPal link
(more on this in chapter 5).
• A blog or link to your (or your authors’) Facebook or Twitter
pages so you can easily alert followers about a new book release,
positive review, award, or just offer a helpful tip aimed at your
target audience.
• A media page with any press releases you have written and list of
publications where you have been quoted as an expert.
• To build up a contact list, you could offer a free email newsletter,
and include a place at your website where visitors can subscribe.
Your newsletter could include articles about your latest book
releases, book signings, and information about promotions
and discounts. If you have a very specific nonfiction niche, this
might also lend itself to providing free articles about your area of
expertise to help generate more interest in your books. You could
also offer a discount on the next book purchase to encourage
people to sign up. Your newsletters can also be posted online.
TIP:
You can send out email newsletters inexpensively
through a company such as Constant Contact at www.
constantcontact.com. The cost starts at $20 per month for
a list of up to 500 people, and a free trial is available. Other
companies that do email newsletters and autoresponders
include AWeber (www.aweber.com), Campaign Monitor
(www.campaignmonitor.com), and MailChimp (www.
mailchimp.com).
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Sandra Poirier-Diaz, a publishing PR expert whose company represents
many small independently published projects, has regularly secured
top-level media coverage (Today Show, The New York Times, USA Today,
Newsweek, Oprah and Friends, etc.) for authors offers the following tip on
constructing effective author bios for your website.
“While the book often has a short bio, on a website, the bio can be
more detailed, with personality. This should include the education,
work and/or life experiences. Examples include past publishing
projects, colleges or universities attended, living or traveling abroad or
in a region related to the book, specific media outlets where the author
has been featured, venues where the author has been a speaker, and
any fun, relevant personal information to make the author human.”
—
Sandra Poirier-Diaz, President, Smith Publicity
Here are some features and additional information to consider
including on your website as you begin to grow your business and list
of titles:
• Manuscript submission guidelines (if you plan on publishing the
work of other authors and wish to accept unsolicited manuscripts,
sample chapters, or proposals).
• A reader resources page geared toward book discussion groups
– this may include a list of downloadable discussion questions
for each of your titles and interviews with your authors about
what inspired their work (this works best for fiction or memoir,
not “how-to” books).
• Some publishers offer opportunities for interested parties (for
instance, book clubs or classrooms) to video-conference with
their authors; for instance, check out Penguin (www.penguin.
com/school-library/skype-authors) and Scholastic (http://teacher.
scholastic.com/products/tradebooks/inviteanauthor.htm).
Developing Your Website
Next, you’ll need to get an address, or domain name, for your site.
There are a number of sites where you can search for and register a
domain name. One web host we have found that provides good
service for a low cost is www.godaddy.com. Yahoo! also offers a quick
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search for domain name availability via subsidiary Aabaco at www.
aabacosmallbusiness.com/domains.
If your preferred domain name is available, but you’re not yet ready
with your website, you can also “park” your domain. This means that
you register the domain so that someone else does not take it before
you’re up and running with your business website. You then park the
domain with your web host.
Once you register your domain, you will need to find a place to “host”
it. You can host it with the same company where you’ve registered the
name. For example, if you register a domain name through GoDaddy,
you might use their hosting services to put your website online.
Another low-cost option is Bluehost (www.bluehost.com). Yahoo!
offers a popular low-cost web hosting service at service at http://
smallbusiness-domain.com/yahoohost. You can find a wide variety
of other companies that provide hosting services by doing an online
search. Before choosing a web host, use the internet to research web
hosting scams to help you avoid similar problems.
Another option is to use a free blog service such as WordPress. It allows
you to set up your site as a traditional web site rather than a blog, if you
wish.
First impressions mean a lot! Your potential clients/customers will
judge the quality of your business and services by what they see
on your website. If you don’t have the time or expertise to design a
polished, professional website yourself, you should hire a professional
web developer to build and maintain your website.
Feel free to reach out to the IAP Career College webmaster Eric Davis
(owner of Jaber Marketing, LLC: jabermarketing.com) at eric@
jabermarketing.com or contact him via his website. He will be able to
help your business with all of your online needs.
If you decide to hire someone else to design your website for you, be
sure that you clearly communicate the image you want to project. You
want your website to be a reflection of what you and your company
stand for and the type of customers you want to attract. Think carefully
about your niche. For example, are you planning to publish books
about Eastern philosophy or meditation? Then you might want your
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website to have a clean, uncluttered feel. Or if your niche is books
relating to computers and technology, consider a more high-tech edge
for your website. Prospective customers are looking for books they feel
that they can relate to, so appealing to their aesthetic with your website
can be an important part of achieving that initial connection.
But creating the website is only half the battle — adding to and
updating it frequently is important, yet time-consuming. If you don’t
have the time to spend on maintaining a website, you may prefer to pay
to outsource its ongoing maintenance.
Software such as Microsoft Expression Web or Adobe Dreamweaver
has made creating web pages possible for just about anyone with the
time and energy. If you are already experienced at creating web pages,
or learn quickly, you can design your website yourself; if you don’t
have design software already, check out free programs like SeaMonkey
(available at www.seamonkey-project.org). You may also use the
website development tools offered by domain and hosting companies,
described above.
Promoting Your Site
A great site is only as good as how many people it attracts. No matter
how much you spend on creating your website, if people don’t know it
exists, it won’t help your business. Once you have set things in motion
and your website is ‘live,’ put your website address on absolutely
everything you send out. Put it in your email signature and on all your
printed materials. Encourage people to visit your site by mentioning it
as often as you can, for example, whenever you write an article, give a
presentation, or are interviewed by the media.
Make certain you list your site on all your business forms, cards,
brochures, signs, and even your car, van or truck. (Check out car door
magnets at www.vistaprint.com/car-door-magnets.aspx).
When you list items for sale on any other website, like eBay for example,
add your website address. If you spend time on blogs or newsgroups,
add your site’s hyperlink to your signature.
Make sure people can find your website by getting it into the search
engines and listing it with industry websites. While some sites and
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search engines charge a fee to guarantee that your website will be
included in their directory, you can submit your website for free to
Google at https://support.google.com/webmasters/answer/6259634.
Once you’re on Google, your site is likely to be found by other search
engines as well.
Your web hosting company may offer a search engine submission
service for an additional fee. You can find information about
“optimizing” your website, to help it rank higher on search engines,
at the Search Engine Watch website at http://searchenginewatch.com
and at Google’s Webmaster Help Center at https://support.google.com/
webmasters/answer/35769.
Consider attending Google’s Webmaster Academy at https://support.
google.com/webmasters/answer/6001102. And be sure that your
business can easily be found online by listing your business at major
search engines and internet directories, including:
• Angie’s List
https://business.angieslist.com
• Bing
www.bingplaces.com
• CitySearch
www.citysearch.com
• Foursquare
http://business.foursquare.com
• Google My Business
www.google.com/business
• Super Pages
www.superpages.com
• MerchantCircle
www.merchantcircle.com/corporate/landing/signup.html
• Yahoo Local
https://local.yahoo.com
• Yelp
https://biz.yelp.com
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And to be sure you are easy to find on GPS navigational devices, unless
you are doing business out of your home, register your business at:
• GPS Data Team
www.gps-data-team.com/corporate_customers.html
• Express Update
www.expressupdate.com
In addition to the free search engine listings, you can advertise on the
search engines. See section 6.2.1 for more information.
6.1.3 Social Media
“The rise of social media has been an enormous asset to the new fiction
publisher. Blogs, Twitter and Facebook are the new “book tours” of
the 21st century, and the proliferation of new online review outlets
offer tremendous low-cost opportunities for new fiction publishers to
find readers.”
—
Florrie Binford Kichler, President, IBPA
If you have a good chunk of time to devote to online marketing, you
can use social networking sites such as Facebook (www.facebook.com)
and LinkedIn (www.linkedin.com), do micro-blogging (brief updates)
at Twitter (www.twitter.com), create videos to post at YouTube (www.
youtube.com), and create pages for sites such as Hub Pages (http://
hubpages.com), among other online marketing activities.
Effective use of social media platforms has fast become almost a
necessity in marketing small businesses. One important way to learn
and to interact is to follow what content your competition is presenting.
The bookseller Amazon lists over 200 titles in the category ‘Social
Media for Business,’ and the Internet offers countless articles as well.
I will not attempt to cover the topic in detail but rather provide a brief
overview of several major social media venues that you may find offer
useful accessories to your website.
Yelp
www.yelp.com
Yelp provides a business review guide in major urban areas. Originally
started in San Francisco in 2005 as a restaurant review site, Yelp is now
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used by over 84 million unique users per month in over 20 countries
to check out local businesses providing goods and services ranging
from nightlife to auto repairs to medical services. Anyone can read
Yelp reviews, but users must open a free account to be able to write
reviews, which allow the user to assign a one-star to five-star rating as
well as to write about what they like (or don’t like) about businesses
they’ve patronized. A free Business Owner account is also available, by
which businesses may reply to reviews as well as message users, add
photos to their listings, engage in a variety of promotional activities,
and view trends and statistics for their own page. Yelp is supported
by advertising revenue; advertising can be targeted in a variety of
ways, including having your business ad appear when users view your
competitor’s page and blocking competitor’s ads from appearing to
viewers of your page.
Tumblr
www.tumblr.com
Owned by Yahoo, Tumblr is a microblogging and social networking
platform. Profiles may be public or private; many features are free,
but some premium features are offered for an initial or a monthly fee.
Registered users may follow other users (and be followed), re-blog
posts, and post ‘likes’ so that one’s friends may view what one has
found interesting. Along with text, both still images and videos may be
posted, and a limited amount of ecommerce can take place via PayPal
or other avenues. Users can choose their pages to appear with a free
theme, or hire a designer to provide a custom theme. Launched in 2007,
on some days over 100 million posts are made by users around the
world. Advertising revenue is the main support for Tumblr, although
recently companies have been offered opportunities to pay to promote
their own content to larger audiences.
Facebook
www.facebook.com
With over 1 billion users and translated into 37 languages, Facebook
nation is the world’s largest social network with three times the
population of the United States. You must first register to create a
profile, then you can access features such as posting photos/videos;
adding contacts with whom you may exchange messages and live chat;
publicizing events including issuing invitations and tracking planned
attendance; and posting ‘classified’ listings in the Marketplace. There
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is no charge to join and use Facebook; it is supported by advertising
revenue.
Twitter
www.twitter.com
Twitter is a social networking and microblogging service that allows
users to send and read text messages limited to 140 characters, which
are referred to as “tweets.” Founded in 2006, there are already over
200 million registered users sending 58 million tweets per day. As a
registered user, you can both post and read tweets, but unregistered
users can only read tweets. You may tag each of your tweets with a
hashtag (#) subject line, allowing users who were not actually sent
the original tweet to access the message. Twitter offers analytic tools
that which allow the user to review the performance and impact of
their various messages. There is no charge to join and use Twitter; it is
supported by advertising revenue.
Pinterest
www.pinterest.com
Pinterest is a social networking site that lets users create visual bulletin
boards of their interests including recipes, images, videos, and ideas.
It is a virtual bookmarking tool where you “pin” things of interest.
Your “pins” can be shared on other social networks like Twitter and
Facebook. For businesses, it is a great way to showcase your work
portfolio, and others can “pin” images from your board onto their
Pinterest and other social media accounts. You can also embed Pinterest
to function within your own website.
Instagram
www.instagram.com
Instagram is a popular social media app for sharing pictures and videos.
Snatched up by Facebook as a huge opportunity, as of September 2015,
the app boasted over 400 million users worldwide. You can embed
Instagram photos onto your website or blog, making it a useful tool
for marketing, as well as link it directly to your site. You can cultivate
a following through sharing engaging posts and tips related to your
business, as well as engage potential clients.
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Periscope
www.periscope.com
Periscope is an app that allows you to live stream video broadcasts
from anywhere in the world. Owned by Twitter, Periscope boasts over
10 million subscribers and has over 4 million active daily users as of
this year. Although video streams are in real time, they can be saved
and posted for later viewing. It can help bring exposure and help you
connect with potential clients. Q&A chats and live demonstrations are
a couple of ways you may want to use it.
LinkedIn
www.linkedin.com
LinkedIn is a social networking website for people in professional
occupations. Launched in 2003, LinkedIn now has over 250 million
members in over 200 countries and territories. Along with posting
profile information similar to that found in a resume, users can establish
and maintain ‘connections’ (people who have some sort of relationship
to the user). A contact network is then built up consisting of the user’s
direct connections, the connections of each of their connections (or
‘second-degree connections’) and also the connections of seconddegree connections (or ‘third-degree connections’), so that the user may
gain access by messaging new virtual acquaintances through mutual
contacts. There is no charge to join and use basic LinkedIn, but there is
a subscription charge to access various ‘Premium’ services.
YouTube
www.youtube.com
YouTube is a video-sharing website owned by Google on which users
can upload, view and share videos; videos stream on your computer or
other device using Adobe Flash Player (a free download application).
Launched in 2007, there are currently over 4 billion video views per
day. Over one million users (known as ‘creators’) have posted videos,
which are viewed by over one billion unique users every month. You
need to register to post videos, but unregistered users are free to view
most videos (with the exception of ‘adult’ content). Youtube videos may
be viewed on the Youtube website or embedded in and viewed at other
websites. Although there is a premium subscription service available,
there is no charge to join Youtube, and the vast majority of videos on
YouTube are free to view, being supported by advertising revenue. In
fact, if you post a popular video, you can earn money by selling space
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to run advertising (called a ‘pre-roll’) as an integral and unavoidable
part of your video.
Many entrepreneurs find the number of online “social media” sites
overwhelming. If you want to learn more about how to use them,
consider purchasing a book on the subject such as Social Media Explained:
Untangling the World’s Most Misunderstood Business Trend by Mark W.
Schaefer. Even if you decide not to use online social media, you can
nevertheless market your business online using methods discussed
earlier in this chapter, such as building a website and publishing an
email newsletter.
6.2 Marketing Techniques
“Marketing must not be skimped on, unless you are planning to
fail. That doesn’t mean that you can throw money at it and expect to
succeed. I know a guy who spent over $100,000 (and gave away over
1000 books) on promo for his novel. It tanked. Use your head before
you use your money.”
—
Jacqueline Church Simonds, Beagle Bay, Inc.
In this section we’ll look at a variety of marketing techniques, including
advertising, free publicity, networking, and promotional events.
Consider as many of these techniques as possible to help you get the
word out about who you are and how your books are unique, current,
and relevant. Remember, marketing is not the same thing as sales.
You’re building a brand, presenting yourself as an expert in your genre
(especially if you’re authoring and self-publishing nonfiction), and
getting your work noticed.
Generating book sales and media attention from marketing is not
formulaic and not every strategy works for every new book publisher
or author with the same success. The key is to determine what
combination works best for you. If you are more introverted, you might
want to begin with writing-related marketing techniques, such as press
releases. If you are an extrovert, you might enjoy networking events,
book fairs, and book signings where you can interact with large groups
or use your public speaking skills.
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6.2.1 Advertising
A popular quote attributed to P.T. Barnum says, “A terrible thing happens
when you don’t advertise … Nothing.” Paying for placement in the media,
however, while essential for many businesses, is probably the least cost
effective or efficient way to go when it comes to promoting your books.
This is particularly true if you have a specialized nonfiction niche, since
you’re casting a wide net rather than focusing on your target market.
A display ad in a major newspaper or magazine, for example, is a very
expensive undertaking with a potentially small return. Before investing
in this type of potentially costly advertising, consider how many copies
of your book you’ll have to sell to pay for it and whether it’s really
worth your while.
Media to consider for advertising your books include newspapers,
magazines, radio, television, and online. You can find cost information
by contacting media outlets and asking to speak with a sales
representative. They will be able to provide you with either a printed
or online “rate card” which includes information on the types of
advertising they offer (such as size of ads in print publications), costs,
and information about their audience (statistical information about
their readers, viewers, or listeners).
Before you make any decisions, read the rate card and target audience
information carefully. Is this the media outlet where most of your
customers will hear your message? For example, if the book you are
publishing deals with a special interest such as the care and breeding of
guinea fowl, you’ll want to consider advertising in publications such as
Grit (www.grit.com) and Mother Earth News (www.motherearthnews.
com). If you are publishing a book to instruct others in grassroots
political organizing, you might advertise in either the National Review
(www.nationalreview.com) or the The Nation (www.thenation.com),
depending on you or your author’s political persuasion…or perhaps
even both! Also consider advertising in venues such as IPBA (www.
ibpa-online.org/page/advertising) and other trade organizations.
“The most effective marketing tool for my books has been my “Expert”
rankings/projections and advertisements in fantasy sports magazines.
These magazines are targeted at just Fantasy Football fans. My Expert
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advice/rankings provide credibility and the advertisements reinforce
the products I provide.”
—
Sam Hendricks, Author and Publisher, Extra Point Press
Alternatively, when it comes to reaching your potential readers directly,
there are many free sources of publicity for your book, including
magazine articles and radio or TV interviews. In addition, these
methods are often more effective in getting readers’ attention since they
are perceived as sources of news or information rather than an effort to
sell. These methods will be covered later in the chapter.
Online Advertising
In the last few years, online advertising has taken off, eclipsing more
traditional types of advertising such as print and broadcast media. To
ensure people find your business these days, you will need to advertise
online.
Firstly, you can look into companies that specialize in online listings.
One such service is Superpages. They offer a free business listing
service as well as an enhanced version for a fee. Check their website
at superpages.com for details. The most popular search engines, such
as Google, Yahoo, Bing, Yelp and Citysearch all offer business pages as
well, which will mean that your business will be more likely to show
up at the top of internet searches. These are basically free forms of
advertising, so don’t hesitate to register your business details with as
many of these services as you can find. Here are some to start with:
• Google Business
google.com/business
• Yahoo Local
smallbusiness.yahoo.com/local
• Bing Places for Business
bingplaces.com
• Yelp for Business
biz.yelp.com
If you find registering your business with each separate online directory
somewhat overwhelming, and you want to ensure your business is
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getting as wide a reach as possible, there are services out there that
will do that work for you, such as Thryv.com (who operate the online
version of the Yellow Pages: yellowpages.com or yellowpages.ca
in Canada) and ReachLocal (reachlocal.com). These types of media
services certainly cost but they can also take some of the headaches
away of managing your online marketing needs.
Many businesses also use “pay-per-click” advertising to attract
prospective clients. This involves paying for every visitor that a search
engine sends to your website. You can find information about using
pay-per-click advertising on Google, including how to target Internet
users in your city, at www.google.com/adwords. Other sites you can
advertise on include Yahoo!, Bing, and Facebook.
If you choose specific search terms that few other advertisers have bid
on, you may be able to attract some visitors to your website for as little
as five cents each. However, pay-per-click costs can add up quickly and
some of the people clicking on your ads may simply be curious (for
example, students doing research) and not serious prospects for your
business. So you should set a maximum dollar amount per day and
monitor your results to determine if this type of advertising is effective
for you. Note: the offers that result in sales online may also be effective
in your print advertising.
Many social media sites, such as Facebook, Instagram, LinkedIn and
Twitter, also offer paid advertising that can be targeted as widely
or as specific to your market as you choose. Check out Facebook for
Business for info and advice on marketing your business on social
media: facebook.com/business. Instagram for Business can be found
here: business.instagram.com. Twitter info is available here: business.
twitter.com, and check out details from LinkedIn here: business.
linkedin.com/marketing-solutions.
Internet advertising is an intricate field, and one that is subject to rapid
changes. Before you throw an interesting amount of money in this
direction, you may wish to read up on the subject; your local library
may be a source for recently published books, or try your favorite
bookseller.
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Creating Effective Ads
Some people spend years learning how to create the most effective ads.
Since we do not have years, we’re going to focus on a couple of key
points.
• Create a consistent look, using your logo and layout to create ads
that are recognizably related to your business cards, website, and
other marketing materials.
• Include your website in your contact information.
• Display information in easy-to-read fonts and use high contrast
for good legibility.
• Emphasize clarity. Too much information just becomes hard to
read.
• Get someone to help you proofread. Don’t take the chance of
spending money to publish an ad with errors in it.
• Use illustrations; a picture is said to be worth a thousand words.
Most people need to see an advertisement several times before they
buy, so running an ad only once may not give you as much business as
you hope. A small ad that you run every week for a couple of months
can generate more business than a single full page ad.
One of the most effective ways to draw people to your website where
they will hopefully order your book – and to test the effectiveness of
each ad – is with some sort of incentive. An incentive can be anything
from a discount coupon to a free gift.
The coupon offer should be simple, but with high perceived value
— a buy one, get one free offer, or perhaps “This coupon good for 30
percent off your next purchase,” or “Redeem this coupon for a free
e-book or CD-ROM with every book purchase.” The idea is to get them
to pay your site a visit, see what your titles are all about and what other
resources you have available for them, and maybe buy something
besides what they came for with the coupon.
Giveaway items include key chains, fridge magnets, pens — you name
it. Of course, giveaways should be cost-effective and relevant to your
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book, so decide on a budget before you start looking into ordering any.
There are numerous companies that can supply you with promotional
items. Do an online search for “advertising specialties” or “promotional
products”.
To measure advertising effectiveness with coupons, it’s a good idea to
put a time limit or expiration date on it. Make sure this date is clearly
printed on the coupon. It should allow customers enough time to visit
your website – maybe a week or two – but not so much time that they
forget about the coupon, thinking they can use it well into the future.
Tie the coupon to a date that’s easy to remember, such as the end of the
month.
6.2.2 Free Publicity
One of the best ways to market — with potentially excellent results for
minimal cost — is to get free media publicity. While you don’t have the
final say over what gets reported, the exposure can give a boost to your
business.
Partner with a Local Charity
As you start looking for publicity for your book, consider partnering
with a charitable organization that is relevant to your book’s topic. When
you partner with a charity and help raise funds for them by donating a
percentage of your book proceeds, not only will you be doing good for
a cause you care about, you will increase your opportunities for media
publicity and attract customers who want to buy your book because
they believe in the cause you are supporting. There are usually tax
benefits as well, which your accountant can tell you about.
You may already be involved personally with a charity that could
benefit from such a partnership. If not, begin by developing a list of
charitable organizations related to your book topic or publishing
mission. For example, if your niche is books about women’s issues, you
might look into partnering with a local women’s shelter, girls club, or
organization that supports microbusinesses for women in developing
countries. Ask friends and family members for their recommendations
of worthy organizations, and keep your eyes open for good causes in
your community.
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You can find help in locating your community’s non-profit groups
through the Internet. GuideStar (www.guidestar.org) is a searchable
online database of more than 1.8 million non-profit organizations in the
United States. CharityVillage has a similar database of Canadian nonprofit organizations at https://charityvillage.com/cms/organizations.
Another great resource is VolunteerMatch at www.volunteermatch.org.
When you find an organization you would like to partner with, phone
their office and ask to speak with the person in charge of fundraising
for the charity. Explain that you are going to be raising funds for charity
by donating a percentage of book proceeds, and ask if they would be
interested in receiving those funds. They will very likely be happy to
partner with you and allow you to mention the organization’s name in
your marketing efforts which will also bring them more publicity.
If you decide to take this approach, be sure to figure the percentage
of your donation into your publishing costs. While associating with a
charitable organization may help you sell more copies, you’ll also have
a smaller profit margin per copy.
Book Reviews
“Keep in mind there are risks to reviews. A bad review posted on the
Internet never goes away. We worked with an author who, much to
our horror, drove hundreds of miles to confront a reviewer who did
not like his book. When you put your work out there, there are bound
to be critics.”
—
Sandra Poirier-Diaz, President, Smith Publicity
Even if you’re ready for the criticism, as a self-publisher or new small
publisher with a niche market and few titles to your credit, getting
reviewed in the major trade journals and major market newspapers and
magazines is an extremely difficult task. Publishers Weekly, Kirkus, ALA
Booklist, and the other major reviewers receive thousands of books each
week. Many major publications will not even consider reviewing selfpublished works. If you decide to try for a major publication review,
there are a few things you can do to give your books their best chance
for success.
Author Sam Hendricks offers this key piece of advice: “Follow the
rules. If a review organization wants to see the work before publication then
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send an ARC (advance reading copy).” One of the biggest mistakes new
authors and publishers make is sending out copies of their books after
publication despite a reviewer’s stated policy to the contrary (typically
3 to 5 months advance time is required), and not including requested
details like ISBN numbers or the planned publication date. Carefully
review the guidelines on each reviewer’s website and make yourself a
checklist to be sure you follow instructions to the letter.
Major reviewers to investigate include:
• ALA Booklist
• BookPage
• The Chicago Tribune
• ForeWord Magazine
• Independent Publisher Magazine
• Kirkus Reviews
• Library Journal
• The Los Angeles Times Book Review
• The New York Times Book Review
• Publishers Weekly
• The San Francisco Chronicle
• School Library Journal
• The Washington Post Book Review
An ARC is a pre-publication version of your book, including any art
work. In order to be taken seriously by reviewers, it’s important to
make sure your bound galleys are of the highest quality possible, both
in terms of content and production. Never send a reviewer an unbound
Microsoft Word copy of your manuscript or an electronic version as an
e-mail attachment – this is extremely unprofessional and the quickest
way to get ignored. Print-on-demand technology makes it easy to
create professional-looking galleys even if you’re using traditional
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offset printing for the final product. Include a cover letter and press
release citing any special credentials the author has, or testimonials
from known experts in the book’s niche area.
ARCs can be a great promotional tool when used wisely. Do, however,
always do your homework to ensure a particular outlet reviews books
in your genre. If you blindly send out hundreds of copies hoping
someone will show an interest, you’ll likely be out the production and
shipping cost for quite a few books without anything to show for it,
and you may even hurt your chances for future reviews by creating an
unprofessional image.
Alternatives to the Major Reviewers
Kirkus Reviews, one of the most respected names in the literary
community, has a policy against reviewing self-published books.
However, with their launch of the Kirkus Indie (www.kirkusreviews.
com/indie-reviews) program several years ago, they provided a new
avenue (albeit a pricey one ranging from $425 to $675 at press time) for
those who might not otherwise have access to major reviewers.
Self-published authors and small presses unable to garner the attention
of Kirkus Reviews have the option of paying for a review as part of Kirkus
Indie. Keep in mind that payment is no guarantee of a positive review;
the organization has a reputation to uphold and your book will receive
an honest and impartial critique, so be sure you’ve gotten some good
feedback on your work before going this route. You have the option of
posting the review for free on the Kirkus website as well, which is wellread among industry professionals. Of course if you receive a negative
review, you can choose not to list it there.
There are pros and cons to paying for a review and some question the
legitimacy of this approach. However, it is one way to secure a review
from a major name – and while industry professionals will know the
difference between Kirkus and Kirkus Indie – most readers will not make
the distinction.
Amazon reviews can also be a great way to sell more books. Think
about how many times you’ve decided to purchase a book you may
have been wavering on because of the glowing 5 star reviews from
readers – not necessarily “experts”, but people you assess to be “just
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like you”. While these may not carry the prestige of a review in a major
publication, they can provide a great sales boost for a new book. To help
generate more Amazon reviews, in addition to soliciting reviews from
people you know who have read your work, consider contacting some
of Amazon’s Top Reviewers, particularly those who have a clear interest
in your subject matter, and asking them to consider checking out your
work – you can also offer to provide a free review copy if you choose:
www.amazon.com/review/top-reviewers.
Even if your first book doesn’t make The New York Review of Books,
don’t take it to heart or think it a reflection on the quality of your work.
There is less and less space being devoted to book reviews in the major
print media so competition is fierce. There are, however, plenty of other
great sources for reviews thanks to the internet. “The number of online
book reviewers is booming and these are great since they are often
specialized by genre (romance, thriller, mystery, sci-fi, fantasy, etc.)”
says Sandra Poirier-Diaz, President of Smith Publicity. Poirier-Diaz and
several of our other experts recommended www.midwestbookreview.
com and www.goodreads.com as great sources for finding lists of
reviewers.
Press Releases
“While book reviews are important, we’d rather see a feature story
about the author and book because it is targeted to the interest of the
reader. For example, a gardening book review in the book review
section of a newspaper may not pull as many readers as a feature
story on the book and author in the home or gardening section.”
—
Sandra Poirier-Diaz, President, Smith Publicity
One way to get a story written about your books is to send a press
release (also called a “news release”) to a writer, magazine editor,
or the editor of the appropriate section of the newspaper. The ideal
press release is a single page and should be written so that it could be
published “as is.” Read the magazine or section of the paper where you
would like to be published and use a similar writing style for your own
news release.
In order to get published, your press release should read like a story,
not an advertisement. A press release that simply announces you
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have started your company or published a new book is not likely to
get into print unless you’re Stephen King or J.K. Rowling. Instead,
consider issuing press releases as an expert on the topic of your book
(particularly for nonfiction). If you are a speaker or professional in your
field, promote a relevant event, or discuss how your new book provides
some informative angle on a current event or issue.
“Bring in facts, figures, studies, and statistics. The media loves
this! They need to give their audiences and listeners entertaining,
informative, educational, inspirational and/or thought provoking
information. Think of the Today Show’s teasers…’Coming up next: five
ways to clean clutter in your home.’ Think of your book in these terms
and it will be easier to get the attention of the media.”
—
Sandra Poirier-Diaz, President, Smith Publicity
Here is a quick list of tips for writing a press release.
• Make sure the press release is newsworthy. A community event or
hot topic in the press is newsworthy. A new book by an unknown
author and publisher is not.
• Give your press release a strong lead paragraph that answers the
six main questions: who, what, where, when, why, and how.
• Keep it short. Aim for a maximum of 500 words.
• Include contact information at the end of the press release so that
reporters can get more information.
You can find numerous online resources to help you write a press
release, including:
• How to Write a Great Press Release: A Sample Press Release Template
www.publicityinsider.com/release.asp
• PRWeb: Writing Great Online News Releases
http://service.prweb.com/learning/article/press-releasewriting-fundamentals
The sample press release below is an example of the format and type of
content that is appropriate for a press release:
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Sample Press Release
Contact:
Company:
Phone:
Email:
Website:
Patty Publisher
GreenPrint Publishing
123 Ecofriendly Lane
Anytown, USA 12345
(555) 555-1212
patty@greenprintpublishing.com
www.greenprintpublishing.com
FOR IMMEDIATE RELEASE
October 1, 20XX
Green Job Growth Increases According to New
Duke University Study*: Are U.S. Workers Prepared
to Meet the Need?
With $8 billion in government stimulus funds slated to go toward
the development of high-speed rail projects, this is just the
latest indication of increased support for development of green
technology. A recent report from Duke University identifies 35 states
that could potentially support new rail infrastructure projects – all
of this means more job creation. But is the U.S. workforce prepared
to fill these green jobs?
“Our use of fossil fuel in this country is of huge concern, and
it’s especially in the minds of the public now as we continue
to deal with the results of the massive oil spill in the Gulf,” said
Alexandra Author, career coach and author of The New Green Jobs,
a how-to guide designed to help individuals prepare for and find
employment in this growing sector. “As we begin to change the
way we think about energy, we also have to change the way we do
business, and that may require new skills.”
Author’s latest book, The New Green Jobs, offers practical advice on
how individuals can best leverage their skills to take advantage of
green job growth in their local area. Those who have been recently
laid off due to the economic downturn will find information on
green career resources and training opportunities to aid in their
transition to a new field.
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“I think there is a growing awareness of how creating a sustainable
world impacts all of us. There are so many employment
opportunities out there right now for people who are interested in
contributing to positive change,” said Author.
Alexandra Author has been in private practice as a career coach
and consultant since 2007, specializing in careers in social change.
She is an award-winning author and member of the Professional
Association of Resume Writers and Career Coaches.
Media: For more information, a review copy, or to arrange an
interview, contact Patty Publisher or visit the “press info” page at
www.greenprintpublishing.com. The New Green Jobs is available for
$16.95 through Amazon.com or directly through the publisher’s
website.
*Duke University Office of News & Communications, June 23, 2010:
“U.S. Manufacturing of Rail Vehicles for Intercity Passenger Rail
and Urban Transit” (http://news.duke.edu/2010/06/rail_study.html)
###
If you’re still feeling unsure about your press release, the following
link also provides a free online form that walks you through the press
release writing process and does all the formatting work for you: www.
ducttapemarketing.com/IPR.html.
As an alternative to writing a press release, you could find out who
the editor is, and either phone or send a brief “pitch letter” by email or
mail to suggest an idea for a story. In your pitch, remember to focus on
something that will be interesting to readers. For example, you might
suggest a story on the topic of your book as tied in with a current event
in the news. Do some brainstorming, and keep up with the headlines.
“Even for a novel, it needs to have a solid news angle. For example, a
novel about a family’s painful decision to put a loved one in a nursing
home can be pitched with hard facts about nursing homes. The author
is probably more of an expert than he or she realizes.”
—
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Most magazines and newspapers publish contact information for
their editors. If the editor’s name is not published in the paper, you
can call and ask the receptionist. Newspapers may have dozens of
editors, so make sure you send your submission to the appropriate one
(for example, the Lifestyle Editor). While you can obtain a great deal
of contact information on your own by conducting internet research,
purchasing a media contact mailing list targeted to your market can be
a big time saver if your budget allows.
While it is not necessary to submit photographs to a daily newspaper
editor, photographs may help attract the editor’s attention. They might
also be published in a smaller magazine, newspaper or newsletter
that doesn’t have a photographer on staff. Smith suggests supplying
high resolution photos (300 dpi minimum) for print outlets and low
resolution (72 dpi) for online media.
Another option is to use a service to distribute your press releases
for you. PRLog (www.prlog.org) offers free press release distribution
and allows you to manage all of your press releases from one central
account. PRZOOM-Newswire offers a free distribution service as well
(www.przoom.com). Their premium services include logo placement
and a real-time statistics tracker. You can also pay for a press release
distribution service if you want more bells and whistles and wider
distribution. One popular site is www.prweb.com. Depending on your
goals and budget, they offer packages ranging in price from $80 to $360
per news release. The lower priced package includes distribution to
more than 250,000 subscribers.
For press releases of local interest only, such as a presentation or book
signing at your town library or local independent bookstore, submitting
press releases yourself to local publications is your best bet. However,
if you want to promote your books nationally or internationally, a
distribution service can save you quite a bit of time and help you gain
access to some markets you might not reach on your own.
Television and Radio Talk Shows
“How does one get the public to notice? For books, the best solution is
radio, radio and more radio.”
—
Roger S. Williams, Literary Agent,
Publish or Perish Agency
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Phone local radio and TV shows to let them know you are representing
a published author (even if you are the author, PR expert Sandra
Poirier-Diaz suggests using an assumed name to avoid the media’s
distaste for dealing directly with “emotional” authors). Let them know
the author is available for interviews and to provide expert advice to
their viewers or listeners on the subject of the book. Shows that might
be appropriate include morning shows and afternoon talk shows. The
person to contact is the producer of each show.
For any legitimate shot at an appearance on one of the more prominent
TV shows, such as The Today Show, and radio programs that often
feature author interviews, such as NPR’s Fresh Air, you’ll need to
contact them at least 2 to 3 months in advance of publication.
When you contact them, be sure to emphasize how much the show’s
audience will benefit from an interview with you. Keep in mind that
they are not interested in giving you free advertising – their ultimate
goal is to improve their ratings, so anyone they interview should be
dynamic and interesting.
Also, keep in mind that many station employees are overworked and
underpaid. If you can make their job easier you are much more likely
to land an interview. The best way to make their job easier is to include
a list of “frequently asked questions” with the letter or news release
you send them. This is a list of questions that you think listeners might
like the answers to. Chances are, whatever you find people asking your
advice about are questions that an audience would be interested in, as
well.
TIP:
Consult Talkers Magazine (www.talkers.com) to find out
how to contact various talk radio shows that may interested
in hearing from you.
Internet radio and podcasts are also a growing trend you can use to your
marketing advantage since hosts of these shows are often more hungry
for guests, and likely to give you more air time than the usual 10 or 15
minutes. In some cases interviews are also archived and made available
afterward for download on iTunes or other sites. BlogTalkRadio, for
example, provides a home for thousands of internet radio talk shows
on all subjects -- you’re sure to find one that fits the topic of your book.
Or, if you’re looking to establish yourself as an expert in your field and
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have a flare for this format, consider starting your own radio show!
Visit their web site at www.blogtalkradio.com for more details. And
check out podcast directories such as https://podcastplaces.com to
browse podcasters that may be interested in your book(s).
Preparing an Author to Interact with the Media
The following tips are provided by Sandra Poirier-Diaz of Smith
Publicity:
• Research the outlet before the interview—is it conservative, liberal,
does it cater to senior citizens or other specific demographics? Is
it regional or national? Is the host is a shock jock? The more you
know, the better prepared you will be.
• For radio interviews, always, always, always use a land line
telephone. Make sure to have the call-in number and a backup
number (or give them a backup number if they are calling you) and
confirm the time zone.
• Know the name of the host (and use it) and where they are located
(don’t comment on local sunny weather if they are in the middle of
a snow storm).
• Have a glass of water nearby.
• Stick to two or three points about your book that you want readers
and listeners to remember and practice getting these key points
down to brief sound bites.
• Don’t over-promote your book by starting each sentence with “As it
says in my book…”
• Although most professionals will plug your book, if the host has
not, make sure you let the audience know the name of your book
and where to buy it.
• Have confidence. You wrote your book and are THE expert on it.
• Have fun! Smile during your interaction, stand up during the
interviews, have notes in front of you so you can relax and enjoy
the experience.
• Send a thank you note to the reporter, producer and host.
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Write an Article or Column
One of the best ways to establish yourself as an expert is to write
articles or a column for a newspaper, magazine, newsletter, or websites.
While it can be tough to break into large daily newspapers, there may
be an opportunity to write for smaller newspapers or local magazines.
Anything you write can be submitted online as well.
You could write on any topic related to your book, use an excerpt from
your nonfiction book to create an article, or even propose a column
where you would answer questions from readers on the topic of
your book (assuming you’ve chosen a niche in which you have some
additional expertise). The length and frequency of your column will
depend on the publication. You might produce a weekly 500-word
column for a local newspaper, or a monthly 1,000-word column for a
newsletter or magazine.
Make sure your article or column provides valuable information to the
publication’s readers. As with press releases, articles that sound like
an ad for your services are not likely to get published. Write about
something in your area of expertise; for example, if you’ve written
and published a book on search engine optimization, write about how
entrepreneurs and small business owners can use these to build their
business. As with your website, anything you write should reflect who
you are and what you have to offer your target audience. The goal in
writing an article is not to “sell”, but to “connect”. If you’re able to do
that successfully, readers will be encouraged to seek out your books to
learn more.
If you are hoping to get published in a newspaper or magazine, phone
the editor after you have written your first column or article to ask if
they would be interested in seeing it. If so, they will probably ask you to
email it. If they want to publish it, they may offer to pay you. However,
even if they don’t pay, you should consider letting them publish it in
return for including a brief bio and your contact information and web
address at the end of the article or column.
If your book doesn’t lend itself to writing articles or a column, you
can still be an expert interview subject for journalists seeking quotes
by registering with Help a Reporter Out (http://helpareporter.com).
HARO, a website created by Peter Shankman, is used by over 30,000
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members of the media, including major outlets like ABC News, as well
as local reporters. You’ll receive requests via e-mail newsletter sent
out several times a day and respond to those you choose – it’s best to
respond to those that represent the best fit for your expertise and target
market. Journalists will appreciate this too – if you randomly respond
to every request you receive without paying attention to the specifics of
what the journalist is looking for, you’ll likely get ignored (and perhaps
even removed from the site).
Timely responses to these requests are important as well since reporters
often have short deadlines. Pay attention to the time zone of the media
outlet and adhere to any special instructions when responding. Best of
all, it’s completely free to sign up, so take advantage of this great resource!
PR Newswire offers a similar service at http://profnet.prnewswire.
com, though there is a cost for registration (set on a sliding scale
according to the size of your organization).
6.2.3 Contests and Awards
“Winning a book award and displaying a winner or finalist award
sticker can help a publisher have their book(s) stand out from the
million new titles, and millions of other books currently in print. In
addition to the prestige and honor of having an award-winning book,
winning such an award can bring more exposure, increased sales and
increased revenue.”
—
Catherine Goulet, Chairperson,
Next Generation Indie Book Awards
Winning an award, or even being chosen as a finalist, can potentially
open quite a few doors for a new book publisher. Although entering
contests can be a time-consuming proposition, and entry fees can add
up, this is a promotional method that can definitely be worth your
while. In addition to spurring book sales and being able to list this
accomplishment in all of your press materials (which can potentially
help you to get the attention of reviewers, distributors, and librarians),
some of the competitions also include award ceremonies where finalists
can network with publishing insiders. Don’t overlook local, state, and
regional competitions, particularly if your niche has regional appeal.
There are several awards competitions for independently published
books you should consider entering, including:
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Benjamin Franklin Awards
Website:
http://ibpabenjaminfranklinawards.com
Established in 1987 and sponsored by the Independent Book
Publishers Association, this prestigious award program includes 50+
categories and entries are judged by an independent board of industry
professionals. Finalists are invited to attend an award ceremony and
have their work displayed at Book Expo America. Entry fee: $80 per
title per category for members; $180 for first title and $80 for additional
titles for non-members.
IndieFab Awards
Website:
https://indiefab.forewordreviews.com
This site’s mission is to “highlight some of the best titles produced from
the independent publishing community. We prefer to review books
exclusively from these publishers because we find them interesting,
dynamic, and authentic in a way that blockbuster titles are not. It’s the
difference between seeing your favorite band in a club versus seeing
everyone’s favorite band in a sold-out arena. Being on the inside is cool,
isn’t it?”
Next Generation Indie Book Awards
Website:
www.indiebookawards.com
The largest not-for-profit book awards program for independent
publishers recognizes winners and finalists in 70 categories. Judges
are actively involved in the indie book publishing industry, and the
top 60 books are reviewed by a leading literary agent for possible
representation in distribution, foreign rights, film rights, and other
rights. Cash prizes of up to $1,500 are offered, winning titles are
promoted in a catalog distributed at Book Expo America, and winners
are invited to an awards ceremony at the Plaza Hotel in New York.
Entry fee: $75 per title for the first category and $50 for each additional
category.
You can find a listing of other awards in Literary Market Place and
Writer’s Market, as well as online at http://bookspot.com/awards.
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A few caveats in evaluating contests. There are more award programs
springing up on the internet every day, many of which have excessive
entry fees and deliver little in the way of exposure. While an award
program may be perfectly legitimate, do investigate carefully before
entering and know what you’re getting for your entry money. Some key
questions to research before entering a contest:
• Who is judging the competition? Look up their credentials online.
• Is the sponsoring organization a nonprofit?
• Who are some of the past winners? Look up their work and
reviews.
• Is the award national, regional, or local?
• Does it have a connection with your target market?
Many experts suggest, however, that even little known awards can be a
boon for new authors and publishers. After all, while industry insiders
will know the “big name” award programs, most of your potential
readers won’t – the ability to say you won an award, any award, can
help garner potential readers’ attention in an extremely competitive
market.
6.2.4 Networking
One of the best ways to spread the word about your business and the
books and authors you’re publishing, is through other people. When
you publish a book, make sure you get the word out to your family
and friends, as well as colleagues, or members of groups to which you
belong or where you volunteer (particularly if relevant to the topic of
your book). Consider sending a postcard, and inviting them to read
your work or attend an author event.
Trade shows are also excellent places for networking with publishing
and bookselling professionals. Be sure to research the attendees before
you go and have an idea who you want to meet and what connections
you may have that could provide a potential opening for conversation.
Try to make yourself available for before and after events, as much of
the networking at the larger book fairs is informal and goes on outside
of the actual show venue. You’ll find more information on trade shows,
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including which ones to consider attending and how to get your book
exhibited, in the next section.
Word-of-Mouth
It’s time to get your readers working for you. If you can get an emotional
connection between you (that is, your books) and your customers
they will be your best sales tools. What they say is worth more than
hundreds of expensive ads.
“Word-of-mouth is the absolute best way to sell books. Look at what it
did for ‘Harry Potter’ and ‘Twilight’! Good quality stuff gets people
talking, so do what you can to produce the best quality possible.”
—
David Hooper, Author and Publisher,
MusicMarketing.com
One person telling another that your book provided them with useful
information, inspiration, or entertainment is money in the bank. But
how do you get to that point? By being everything your readers expect
and making it easier for them to share their opinions with others
through online reviews.
TIP:
Ask readers to send written feedback. Add these
“testimonials” to your newsletter, brochures, and website –
for more prominent names, including experts in your book’s
topic, you may choose to feature their testimonial in your
ads. If someone sends you a compliment on your book, you
can also respond with a thank you and a link to your book’s
Amazon page and ask them to leave a review.
6.3 Promotional Events
6.3.1 Book Signings
Scheduling a book signing at the local Barnes & Noble may sound like a
great idea for promoting your authors and books, but unless they have
a following already, this may be a tough sell.
“Book signings are challenging even for famous authors. How many
times have you walked into a bookstore and have witnessed some
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poor author, passively sitting at a table hoping to catch somebody’s
eye. This recently happened on the television show ‘Bethenny Getting
Married?’ as this “famous” person sat a local Costco for a book signing
and no one was interested.”
—
Sandra Poirier-Diaz, President, Smith Publicity
Many of the experts we spoke with echoed this sentiment and had
found, in their own experience, that book signings were not an efficient
marketing technique. Fantasy sports author and niche publisher Sam
Hendricks of Extra Point Press, noted he’d found author signings to be
his least effective marketing tool. While he felt they could work “in the
right environment,” Hendricks believes in many cases these events are
simply an “ego trip” for the author and not worth the time investment.
“Author tours and signings are really going the way of the horse and
buggy. They are expensive, and net little results. It’s good to visit as
many booksellers as possible, but just introduce yourself. That makes
a bigger impression that trying to convince a bookseller to rally their
limited resources to have a few people show up to a signing.”
—
Roger S. Williams, Literary Agent,
Publish or Perish Agency
Poirier-Diaz does, however, recommend book signings for authors
with a strong local or regional market or connection. This may provide
the angle you need to generate interest with local booksellers and
customers.
If you decide to try a book signing, here are some tips to help ensure a
successful event:
• Contact the Community Relations Manager at major chain book
retailers at least 3 to 4 months in advance.
• Let the person in charge know that the author is local and will be
doing promotion for the event to increase attendance.
• Try to schedule the event for a weekend afternoon or weekday
evening.
• Provide a copy of the book, author bio, and any press materials
the store can use for advertising.
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• Try to arrange with the manager for your table to be set up near
the store entrance so you’ll be noticed by customers.
• Make sure there is enough signage to let people know you’re an
author and not there to demonstrate the new Nook.
• Do your own advertising for the event, including sending out
press releases to the local media and listing the event in any
relevant online calendars of local happenings.
• Recruit friends and family to show up for your event and lend
support – and a crowd can sometimes help to draw a bigger
crowd.
• Don’t forget to smile and engage your potential customers in
conversation!
If you do not accept returns (see the section on selling through
bookstores in chapter 5), the major chain stores may be hesitant to
schedule a signing that requires them to commit to a pre-determined
number of copies. They may, however, allow you to bring your own
inventory for the signing on consignment, with the store receiving a
percentage of any sales for the day of the event.
You will probably find small independent bookstores, particularly
those that specialize in your niche, non-bookstore establishments
geared toward your niche, and local libraries more amenable to author
signings. Tina Jordan, Vice President of The Association of American
Publishers offers the following advice:
“Leveraging local resources, including author appearances at
bookstores and libraries and networking with media in the local
market, then aggregating and sharing that news and dialogue in
the internet sphere through social networking platforms and online
communities will further spread the word!”
—
Tina Jordan, Vice President,
Association of American Publishers (AAP),
www.publishers.org
According to author of Dads and Autism and founder of New Jerseybased Altruist Publishing, Emerson Donnell, setting up book signings
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at smaller independent bookstores to promote his first title was just
a matter of “hitting shoe leather to pavement”. He simply asked to
speak with the store manager, presented his book, and offered to hold
the signing. “You may be pleasantly surprised at the reception if the
book is relevant and fills a niche,” says Donnell. He adds, however,
that untried authors should not expect an equally warm reception from
large chain stores such as Barnes & Noble and Border’s, where signings
may require corporate approval.
6.3.2 Presentations
“What we like to see are events where the author is interactive,
giving a presentation, exchanging ideas and information rather than
passively waiting for people to show interest.”
—
Sandra Poirier-Diaz, President,
Smith Publicity
One of the best ways to promote your books is to be seen (or to have
your authors be seen) as an expert in the topic the book addresses.
Think about promotional events in the same terms as print and online
press coverage – make the subject of the book you’re promoting the
focus, rather than the book itself. It’s much easier to draw attendance
for a presentation that promises useful information for attendees than
for an event where the only draw is an unknown author trying to sell
their books.
To let people know that you or your authors are available to speak,
contact membership organizations and professional associations
related to the book’s topic and ask friends and acquaintances if
they belong to any groups that have presentations from speakers.
Retail establishments other than bookstores can also be great places for
presentations, particularly if there’s a “how-to” component involved
that lends itself to visuals or hands-on participation.
To prepare a talk or demonstration that the audience will find
interesting, consider what their needs are. For example, you could give
a cooking demonstration in a housewares store to promote your new
cookbook, or a dog training demonstration in a pet store to promote
your pet guide. Authors of career guides might give free resume
consultations or a job search techniques seminar. “If it is a novel about
a motorcycle gang, perhaps a local motorcycle dealership or even bar
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would be the perfect setting. Think outside of the bookstore for some
creative and fun events,” Poirier-Diaz suggests.
Poirier-Diaz also recommends having someone at the door to direct
people to the presentation, and making friends with the staff – the more
people on your promotional team, the better!
Another approach would be to speak about your experiences as a new
book publisher starting your own business to others who are interested
in becoming publishing entrepreneurs, or to writers seeking outlets for
their work. The benefits of getting your name out there, being seen as
an expert, and the potential relationships to be built by sharing what
you know with others far outweigh the competition factor. Just as you
will likely find many independent publishers who are eager to lend you
a hand with helpful information and advice as you start your business,
it’s always good karma to pass that same kindness along to those who
will follow you.
While you probably will not be paid for your presentations, it can be an
excellent opportunity to promote your books. Your company name and
book titles may be published in the organization’s newsletter, it will be
mentioned by the person who introduces you, and you will be able to
mingle with attendees before and after your presentation. You may get
a free breakfast or lunch too!
Instead of or in addition to speaking for organizations, you could
present your own free seminars or workshops. You can hold it at your
office, if you have one, or you may be able to rent a meeting room
inexpensively at your local Chamber of Commerce or a local hotel or
convention center. Libraries are another great place to hold seminars.
Most public libraries have a meeting room, and they are usually eager
to recruit speakers that will be of interest to the local community. To
help you market your event you could set up a Meetup group at www.
meetup.com. Although you can ask people to pre-register, you may get
some last minute attendees if you accept registrations at the door.
To get people to attend, or call in for a teleclass, make sure it is a topic
that people are interested in, and present it at a time that is convenient
for your audience. If you are marketing to the public, you’re likely to
have the best turnout on a Tuesday, Wednesday, or Thursday evening.
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You’re likely to get a larger turnout for a shorter event (e.g. an hour)
than one that lasts for hours.
An added benefit of a teleclass is that you can record it and make it
available on your website. Consider recording your teleseminar as well
and making it available either as a free download on your website or
as a CD that you can sell or offer as a value-added bonus for ordering
your book. All you need is a computer or digital recorder. If you’re
less comfortable with technology or don’t think your audio editing
capabilities are quite professional-sounding, consider hiring someone.
On the day that you deliver your speech, be sure you bring plenty of
business cards, brochures, bookmarks, and useful handouts such as a
list of web links (with your logo, URL, and book ordering information
since people are likely to hold on to this information if it’s useful) so
you can hand them out to everyone who attends.
If you feel your speaking skills could be better, you can get experience
and become more comfortable talking to groups by joining
Toastmasters, an international organization that helps people develop
their speaking skills. To find a Toastmasters chapter near you visit
www.toastmasters.org.
6.3.3 Trade Shows
A trade show is an event to promote specific types of products and
services. If you have ever attended an event such as a “home and
garden show” or a “wedding show,” then you have been to a trade
show. As a book publisher, you may be able to market your books by
participating in a local, national, and international trade shows related
to the publishing industry, or those relevant to your target market.
New Jersey-based literary agent Roger Williams offers the following
tips on how to make the most of trade shows as a new publisher:
“You can waste a lot of time and money if you go to the wrong shows
or if you even go to the right shows with no plan in mind on what
to expect from the show. What is your mission? Here again, it is
worth the price of admission to be a member of one of the distributor
consortiums as you are taking advantage of the economy of scale by
procuring their services. You can also talk to independent bookshop
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owners who are members of the American Booksellers Association
(www.bookweb.org). But be cognizant of their time – offer, for
example, a $50 consultation fee for an hour of their time.”
—
Roger S. Williams, Publish or Perish Agency
Your primary goals in participating in publishing trade shows and
book fairs are to:
• Present ordering information to booksellers
• Network with booksellers and collect contact information for
your database
• Solicit outlets for potential subsidiary rights and foreign rights
sales through other attending publishers
• Provide exposure for your titles
• Evaluate competitors titles
The major national and international publishing trade shows are:
• BookExpo America (BEA) – Takes place in late May or early June
• American Library Association (ALA) – Takes place in June
• Frankfurt Book Fair – Takes place in late September or October
• London Book Fair – Takes place in March
BookExpo America (www.bookexpoamerica.com) is the largest and
most prestigious of the shows in North America, featuring more than
2,000 exhibits, and over 60 conferences. It is attended annually by more
than 25,000 publishing industry professionals, including booksellers,
authors, agents, and the media. The Frankfurt Book Fair (www.
book-fair.com/en) is the largest international show in the world. The
Association of Canadian Publishers also provides a list of Canadian
and international book fairs and trade shows on their website at www.
publishers.ca/index.php?option=com_content&view=article&id=30
&Itemid=69. You can find a list of regional bookseller associations on
the American Booksellers Association website at www.bookweb.org/
events/regional-trade-shows. The schedule for their shows will vary,
but you can keep up to date on upcoming regional trade shows through
Publisher’s Weekly.
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As a new small publisher, the easiest and most economical way to take
part in the major national and international trade shows such as BEA,
London, or Frankfurt, or the regional book fairs and trade shows, is to
do so as part of a collective. IBPA attends all major shows, and regional
shows that vary year to year. Although you’ll miss out on the valuable
face-to-face networking aspect, you do not have to attend in order to
have your books represented. Members have the opportunity to have
their books showcased at the IBPA complex and in their color catalog
at all of these well-attended and respected shows. Publishers may
purchase multiple, full, or shared booth space. Cost as of the writing
of this book was as little as $55 per title per regional show, and $125
per title for the Frankfurt Book Fair. More details, costs, and up to date
information on your various options can be found on the organization’s
web site at www.bookexpoamerica.com and for more, visit https://
ibpa-online.site-ym.com/store/ListProducts.aspx.
Non-Publishing Trade Shows
Attending a local trade show relating to your target market can also
be good exposure for your titles, and may result in some direct to
consumer sales. For example, you might consider attending a Home
and Garden show if you publish books on gardening, or a Health
and Wellness show to market your books on yoga and meditation.
The cost to become an exhibitor (i.e. to get a booth at the show) will
vary depending on the particular show, the location, the number of
people expected to attend, and the amount of space you require. It may
range from as little as $50 to $1,000 or more for public shows, or up to
thousands of dollars for industry shows. To cut costs, you could partner
with another non-competing exhibitor and share a booth space.
However, before investing in a trade show booth, attend the event if
possible, or speak to some past exhibitors. While you may find a $100
booth at a women’s conference is a good investment to market a partyplanning business, $1,000 spent on a trade show booth to promote
meeting-planning services could give disappointing results. Find out
all the costs involved, what it includes, and what you have to pay extra
for (e.g. chairs, carpet, electricity).
You can find out about upcoming shows by contacting your local
convention centers, exhibition halls, or chamber of commerce. You can
search for events by industry, type of event and location at www.tsnn.
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com. For most events, you can then click on a link to find out contact
information. Many shows now have their own websites and provide
registration information as well as site maps and logistical information.
You’ll need to provide your own display. Unless you know that you’ll
be exhibiting at future shows, look for low-cost options for your display
such as getting a local printer to blow up a few photos and signs for
your booth. You should also bring business cards, your portfolio and
your company brochures for display at your booth, and be prepared to
schedule appointments with prospective clients.
One way to attract people to your booth is with a promotional gift such
as a free CD of one of your recorded seminars on your book topic. If
you don’t have an assistant or partner, see if you can find a friend or
family member to help out at the show and make the rounds to other
vendors to drop off your brochure or other promotional materials. The
days can be long and tiring, and you won’t want to close down your
booth to take breaks.
Concluding Thoughts
Now that you have familiarized yourself with the information, expert
advice, and resources in the IAP Career College Guide to Become a Book
Publisher, you are well on your way to a successful new venture! But this
is just the beginning of your exciting journey as you make the transition
to entrepreneur, whether your goal is to see your own books in print or
to create a small press that offers an avenue for other aspiring authors
to get published. We hope you have found this book helpful, and that
you will continue to refer to it often, both for answers to your questions
and for inspiration, as you begin to build your publishing business and
realize your dream career.
Remember, the information and advice in this or any guide is only
valuable if you put it to use and take action. There are many small steps
suggested throughout that you can take today, even if you’re not ready
to start a full-time business just yet or have limited financial resources.
Any career journey must begin with a process of introspection – you
need to be able to envision the career you want before you can achieve
it.
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In closing, a few thoughts from one of our experts on what it takes to
thrive as a book publisher:
“Three words--passion, preparation and perseverance--the three p’s of
publishing. Passion is the boundless enthusiasm a new publisher
must have in order to create books that communicate a message that
resonates with the reader. Preparation is the business plan, marketing
plan and capital that is critical in order to run a successful company.
And finally, perseverance--the willingness to overcome all odds to
realize an entrepreneurial dream.”
—
Florrie Binford Kichler, President, Independent Book
Publishers Association
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Earn a Certificate in Your
Dream Career
The next time someone asks you “Why should I hire you for
your dream career?” or “What are your credentials?” imagine
being able to say: “I am a trained professional with a certificate
from the International Association of Professions Career
College!”
Benefits of Having a Certificate in Your
Dream Career
A certificate from the International Association of Professions
Career College may give you:
•
Respect as a professional plus a sense of confidence
and achievement
•A competitive advantage when marketing your services
•A credential for your resume when applying for
employment
•Assurance to clients of your professionalism and
evidence of your expertise
•
Higher earnings (according to the U.S. Bureau of Labor
Statistics publication Certificates: A fast track to careers)
Now that you’ve read this
IAP Career College guide,
which is the textbook for
the certificate course, you
can earn a certificate in as
little as four weeks parttime from the comfort of
your own home. Please
see the following pages
for a full list of certificate
courses offered.
Continued on next page
• Antique Shop Owner
• Dog Walker
• Art Gallery Owner
• Doula Business Owner
• Bakery Owner
• Errand Assistant
• Bar Owner
• Etiquette Consultant
•
Bed and Breakfast
Owner
• Event Planner
• Book Editor
• Bookstore Owner
•Fashion Accessories Store
Owner
• Boutique Owner
• Fashion Design
• Brewery Owner
• Feng Shui Consultant
• Bridal Salon Owner
• Fitness Club Owner
• Business Consultant
• Florist
• Cake Decorator
• Freelance Writer
•
Cannabis Business
Owner
• Genealogist
• Executive Coach
• Candy Store Owner
•Gift Basket Business
Owner
• Career Coach
• Gift Shop Owner
• Caterer
• Chocolate Shop Owner
•Gourmet Food Store
Owner
•
Cleaning Business
Owner
• Hair Salon Owner
• Handyman Business
• Closet Organizer
• Home Decor Store Owner
• Coffee House Owner
• Home Stager
• Craft Store Owner
•Human Resources
Consultant
• Dance Studio Owner
• Daycare Owner
• Death Doula
• Ice Cream Shop Owner
• Image Consultant
• Dog Daycare Owner
Continued on next page
• Interior Decorator
• Interior Redesigner
• Jewelry Designer
• Kitchen Store Owner
• Landscape Company
• Life Coach
• Lifestyle Expert
• Makeup Artist
• Matchmaker
• Motivational Speaker
• Nail Salon Owner
•Public Relations
Consultant
• Relationship Coach
• Restaurant Owner
• Secondhand Store Owner
• Social Entrepreneur
• Social Media Consultant
• Spa Owner
• Stationary Store Owner
• Tea Room Owner
• Time Management
• New Age Store Owner
• Travel Consultant
•Nonprofit Business
Owner
• Web Designer
• Organic Farmer
• Wedding Planner
• Party Planner
•Weight Loss Center
Owner
• Party Store Owner
• Personal Assistant
• Personal Chef
• Personal Concierge
• Personal Shopper
• Pet Hotel Owner
• Pet Sitter
• Pet Spa Owner
• Professional Organizer
•Professional
Photographer
• Virtual Assistant
• Wellness Coach
• Wine Store Owner
• Winery Owner
• Yoga Studio Owner
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