Categories
Book Proposals

Get Connected to Publishing People

Within the publishing community, who you know is almost as important as what you know. Yes, it is important to pitch an excellent book proposal or manuscript to the right publisher. As an editor and an author, I also understand people buy (books or manuscripts) from people they know, like and trust. How can you know more publishing people? From my years in publishing, one of the challenges is keeping track of the moving people.

            As a writer, I’ve written two proposals which earned a six-figure advance. Years ago, one of my six-figure book deals was cancelled because my New York editor had changed companies. When your editor leaves the publishing house, then your book becomes an “orphan” and as an author you lose your internal champion for your book. Through this hard-earned personal experience, I learned how each book needs an editor who is your champion for the book.

            How does a new author with no connections, begin to get connected to publishing people? Everyone can use a social network which has over 66.8 million active monthly users: LinkedIN. This network is primarily business related and publishing is a business.

To get connected, you need to take several actions:

  1. If you aren’t on LinkedIN then join today and fill out your profile including with your photo.
  2. Rework your LinkedIN profile to show your activity in publishing. Do you write for magazines? Have you published books? Or possibly you have some other explicit publishing role such as leading a local writer’s group. If you have these types of qualifications, then add them to your LinkedIN profile.
  3. Begin to send connection requests to different people in publishing. These people could be book editors, literary agents, magazine editors, authors and many other roles. In some cases, you will want to send them a little personalized message with your connection invitation. In other cases, you simply send out the generic invitation that you want to connect with the person.

For many years, I received LinkedIN invitations and ignored them. I had very few connections on LinkedIN and was not connected. Then I began to look at the background of the person and for most people, I accepted their invitation to connect. My number of connections increased and my public profile says the common “over 500 connections.” The real number of my LinkedIN connections, as of this writing, is over 19,400. I understand the upper limit is 30,000. These connections are varied with many different roles (mostly within publishing) Here’s the critical reason you want to be connected: when I need to reach someone that I’ve not emailed or called in a long-time, I check their LinkedIN contact information.

While there is a lot of movement within the publishing community, when they change positions or companies or physical location, everyone takes their LinkedIN account with them. This account belongs to the individual and is a way to consistently keep up and reach them. I’ve gone decades and not connected with some people, then I use their LinkedIN contact information to reconnect with them for a specific purpose such as I have a new book and would like to have their endorsement. I’ve found I can often reach these publishing leaders through LinkedIN.

LinkedIN has a lot of other functions as well but being connected and maintaining those connections is one of the basics and best reasons to consistently use this network. 

Terry Whalin

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook, his blog and LinkedIn.

Categories
Publishing Pulse

The Economics of Publishing

I don’t think many authors have a clue about how rugged the economic terrain is for the average publishing house. Publishing is changing (again and again and again!), and with every change it seems that it’s even harder than ever for a publisher to make an honest buck (or even a dishonest buck, for that matter).

When a publishing house contracts with an author to publish their book, most authors look for some upfront money—an advance on royalties, which is usually the amount of royalties a publishing house expects to pay out in the first six months of publication. Smaller publishers, and even a lot of bigger publishers, are not so quick to give advances anymore—it’s just too risky, and too much of a cash flow issue.

Still, even if the the publishing house does not put out a royalty advance, they still have to put out a lot of money well ahead of getting any income from book sales. The whole company starts working on the book, so chalk up the salaries of the editors, typesetters/page designers, cover designers, marketers, and so on. This process can take a year or more, and remember the book hasn’t made the publishing house a single dime.

But finally, the book gets published, it is sent out to distributors and retailers, people buy the book, and the revenue gets back to the publisher—eventually. Distributors are notorious for delaying payment of sales for several months.

The publisher puts out all the money up front to edit, typeset, design, print and market a book, and then has to wait for months for the sales revenue to come in. And far too often, the sales are not enough, even after a year or two, to pay for the investment. So what do they do? Well, they bleed red ink! Thanks to print on demand, the initial investment for printing can be lower (you don’t have to print a large quantity all at once), but since the per-book printing cost is higher, their profit margin gets cut down. So print on demand helps you cut your losses if the book doesn’t sell, but it also cuts into your revenue if the book is successful.

And how often is a book financially successful? It used to be that about one-third of all books published lose money, about one-third break even, and about one-third make a profit—hopefully, enough of a profit to make up for the losses. Today, I suspect it’s more like 25% lose money, about 50% break even, and about 25% make a profit. One of the old jokes of publishing is that we should only publish the books that make money—then we’d really be successful!

The sad truth is, publishing houses usually expect all of their books to be profitable—which means these “experts” in the publishing industry are wrong about most of the books they publish! No one has a crystal ball to predict which ones are going to succeed and which will fail. There are innumerable stories out there about how this or that best-selling book was rejected by a lot of publishers, but the other side of the coin is that there are at least ten times as many stories about how a book that had everything going for it, that looked so promising, got published and lost a lot of money.

So next time you’re tempted to accuse publishers of being stingy, remember the economics of the industry, and shake your head in amazement that they manage to survive in this crazy business!

David Fesseden has degrees in journalism and theology, and over 30 years of experience in writing and editing. He has served in editorial management positions for Christian book publishers and was regional editor for the largest Protestant weekly newspaper in the country.

Dave has published seven books, written hundreds of newspaper and magazine articles, and edited numerous books. He is a frequent speaker at writers’ conferences. Two of his books, Writing the Christian Nonfiction Book: Concept to Contract and A Christian Writer’s Guide to the Book Proposal, are based on his experience in Christian publishing. The Case of the Exploding Speakeasy, Dave’s first novel, reflects his love for history and for the Sherlock Holmes stories of Arthur Conan-Doyle.

Dave and his wife, Jacque, live in south-central Pennsylvania and have two adult sons.

Websites/Blogs:

www.fromconcepttocontract.com
www.davefessenden.com
www.thebookstore.info

Categories
Publishing Pulse

Beware of Purported “Trends” in Christian Publishing

Every time I read an article from Publisher’s Weekly about trends in Christian publishing, especially fiction, I find myself stifling a sarcastic laugh.

First of all, I don’t have that many articles to choose from, because PW appears to publish just one article on Christian fiction trends per year, in May. (My comments concern last year’s article; this year, in May, they had an article about a “Fiction Readers Summit” held by Baker Book House, rather than a review of the market.) This once-a-year market review seems a bit odd to me, considering that Christian books make up about a third of the total book  industry. (Disclaimer here: that statistic may be a bit old, but if you change that from “Christian” to “religious” books, I’m sure it’s still valid.)

But the infrequency of the market review is not what gets me chuckling; it’s some of the “trends” that PW reported last year, such as “Amish [romance] fiction remains popular.” Really? In my contacts with acquisition editors, there doesn’t seem to be interest in more titles in this genre, though well-known, established authors of Amish fiction still seem to be cranking out new titles. The conventional wisdom is that the Amish craze peaked a long time ago, and acquisition editors generally follow conventional wisdom, because it’s usually right.

PW also made a big deal about Christian romance fiction in general, yet my reading of the market indicates that, while still a viable subcategory, romance no longer dominates Christian fiction in the way it did years ago—but you sure wouldn’t know it from this article. There was some discussion of the popularity of other genres, suh as Christian suspense and adventure, including political thrillers, but I was surprised that there was little mention of speculative fiction, a genre that appeared to be growing last year (though it may now be on the wane now, for all I know).

Of course, I’m probably being a little too hard on Publishers Weekly, considering that their article on trends was looking at what had been published by May of 2017. The trends they were identifying appeared to be based on looking back at 2016. Still, their comments seemed more dated than that. Oddly enough, at the end of the story they announced some titles that were scheduled to come out in the spring of 2018. Why did they not look for genre trends in those upcoming titles?

It only highlights the problem a Christian author has when looking at trends—it’s something you don’t want to take too seriously. Not only is the information almost always dated (a published book may have been acquired up to two years previously), but it is pretty much irrelevant. In the publishing world, acquisition editors have the unenviable task of having to guess as to what topics and genres are going to be “hot” two years from now. Since they can’t read the future, they can only speculate—rolling the dice, you might say.

It’s a waste of time, therefore, for a Christian author to try to catch the wave of a new publishing trend; by the time you write the book, prepare a proposal, sell it to a publisher, and it gets out there in the market, the “trend” is going to be long gone. Even if you decide to write the book extremely quickly and self-publish, it’s bound to take six months or so — even more, if you you take into account the months it can take to publicize, promote and market the book. If you time it right, you just might catch the tail end of such a trend, if at all.

Do I dare to suggest that you ignore elusive “trends” and ask God what he would have you write about? Get your advice on trends from the only person who actually does know the future! It’s really the only sure way to stay ahead of the ever-changing Christian publishing market.

David E. Fessenden

Literary Agent, WordWise Media Services

Publisher and Proprietor, Honeycomb House Publishing LLC

Dave has degrees in journalism and theology, and over 30 years of experience in writing and editing. He has served in editorial management positions for Christian book publishers and was regional editor for the largest Protestant weekly newspaper in the country.

Dave has published seven books, written hundreds of newspaper and magazine articles, and edited numerous books. He is a frequent speaker at writers’ conferences. Two of his books, Writing the Christian Nonfiction Book: Concept to Contract and  A Christian Writer’s Guide to the Book Proposal, are based on his experience in Christian publishing. The Case of the Exploding Speakeasy, Dave’s first novel, reflects his love for history and for the Sherlock Holmes stories of Arthur Conan-Doyle.

Dave and his wife, Jacque, live in south-central Pennsylvania and have two adult sons.

Websites/Blogs:
www.fromconcepttocontract.com
www.davefessenden.com
www.thebookstore.info

Categories
Publishing Pulse

The Dirty Little Secrets of Self-Publishing

Book authors are hearing more and more voices telling them to self-publish and “reap the profits that traditional publishers are stealing from you.”

Okay, not every promoter of self-publishing puts it that way, but some do. And it should make you curious as to why these people are giving you so much pressure to self-publish. The answer boils down to the first dirty little secret of self-publishing:

There is no such thing as self-publishing.

In the process we call self-publishing, authors are portrayed as doing all the necessary steps in publishing a book—writing, editing, typesetting/interior design, proofreading, designing the cover, arranging for printing and/or e-book production, distributing, marketing and promotion. But in reality, authors do not do all those things by themselves, because no one person could possibly have all those tools and skills. Instead, the “self-publishing” author pays someone else to do most of these jobs.

And there is the motivation for the push to self-publish: most of those who push an author to self-publish are hoping to get hired to do the work the author cannot do. No matter what publishing method you use, publishing is a team effort. The only difference is in who invests the money—the publisher (traditional publishing) or the author (subsidy publishing, or so-called self-publishing).

The self-publishing promoters often argue that since the author is paying the bills, the author has complete control over the entire publishing process. And this brings us to the second dirty little secret of  (so-called) self-publishing:

No single person has complete control over the entire publishing process.

Of course, that goes back to the fact that publishing a book is a group effort. Authors, even those who pay to have their book published, cannot control all aspects of publishing their book—and they should not want to. Authors who try to have total control over their own publishing process will find that they cannot control those who have the publishing expertise they lack. They either learn to trust others with their creative baby, or they find others who will let them be “in control,” but who, like them, lack the publishing expertise needed for success.

The moral of this story, then, is that success in publishing is dependent upon finding a team you can trust. Are you confident that the publisher you work with, whether subsidy or traditional, has professional expertise and knows the audience you are aiming at? Certainly you have your own ideas about your book, but are you willing to take advice from someone with experience and a track record in publishing? If so, your book has ten times the chance of success than if you find someone who gets paid to follow your instructions blindly.

David E. Fessenden
Literary Agent, WordWise Media Services
Publisher and Proprietor, Honeycomb House Publishing LLC

Dave has degrees in journalism and theology, and over 30 years of experience in writing and editing. He has served in editorial management positions for Christian book publishers and was regional editor for the largest Protestant weekly newspaper in the country.

Dave has published seven books, written hundreds of newspaper and magazine articles, and edited numerous books. He is a frequent speaker at writers’ conferences. Two of his books, Writing the Christian Nonfiction Book: Concept to Contract and  A Christian Writer’s Guide to the Book Proposal, are based on his experience in Christian publishing. The Case of the Exploding Speakeasy, Dave’s first novel, reflects his love for history and for the Sherlock Holmes stories of Arthur Conan-Doyle.

Dave and his wife, Jacque, live in south-central Pennsylvania and have two adult sons.

As a literary agent for WordWise Media Services, I am interested in historical fiction (not romance) and speculative fiction (sci-fi/fantasy); nonfiction titles on Christian living, spiritual growth and biblical studies. I am not interested in devotionals or memoirs. dave@wordwisemedia.com

Honeycomb House Publishing LLC is a subsidy publishing house, assisting Christian authors to publish their books at their expense, and reaping the full profit on the sale of their books. We believe there really is no such thing as self-publishing, because no one can publish a book completely on their own. Standing on Proverbs 16:24, “Gracious words are a honeycomb, sweet to the soul and healing to the bones,” we are looking for gracious words that bring spiritual sweetness and healing. dave@fessendens.net

Websites/Blogs:
www.fromconcepttocontract.com
www.davefessenden.com
www.thebookstore.info

Categories
Publishing Perspectives

The Big Five Family Tree: Book Publishers

file0001447723702Welcome to Publishing Perspectives!

I’ll be talking about all things publishing. Let’s start with an overview of the publishing world. It may seem like there are a zillion big publishing houses out there, but many are owned by the same mega corporations. Many authors desire to be signed with a ‘major publisher’… who are the really really really big guys?

The Big Five traditional publishers consist of Penguin Random House, Macmillan, HarperCollins, Hachette, and Simon &Schuster. Each of these companies own multiple brands. Let’s take a look at the family tree, or at least some of it. These guys are really big and changing all the time so it’s impossible for this list to be comprehensive and accurate for the lifetime of the internet. But here’s a bit of what it looks like today.

[bctt tweet=”There are a zillion big publishing houses out there. #bookpub #publishers” via=”no”]

Hachette Book Group is a division of Hachette Livre (based in France), which is a subsidiary of the French media company Lagardere. Hachette owns:

  • Little, Brown and Company
    • Mulholland Books
    • Back Bay Books
    • Lee Boudreaux Books
  • Little, Brown and Company Books for Young Readers
    • Poppy
    • LB Kids
  • Grand Central Publishing
    • Twelve
    • Live & Style
    • Forever
    • Forever Yours
    • Vision
  • Hachette Nashville
    • Faith Words
    • Center Street
    • Jericho Books
  • Orbit
    • Yen Press
    • Redhook
  • Hachette Audio
  • Hachette Digital

HarperCollins Publishers is a subsidiary of News Corp. They own:

  • Amistad
  • Anthony Bourdain Books
  • Avon
    • Avon Impulse
    • Avon Inspire
    • Avon Red
  • Balzer + Bray
  • Bible Gateway
  • Bourbon Street Books
  • Broadside Books
  • Dey Street
  • Ecco Books
  • FaithGateway
  • Greenwillow Books
  • Harlequin
    • Carina Press
    • Harlequin Books
    • Harlequin TEEN
    • HQN Books
    • Kimani Press
    • Love Inspired
    • MIRA Books
    • Worldwide Mystery
  • Harper Books
    • Harper Business
    • Harper Design
    • HarperFestival
    • Harper Luxe
    • Harper Paperbacks
    • Harper Perennial
    • HarperTeen
    • HarperTeen Impulse
    • Harper Voyager
    • HarperAudio
    • HarperCollins 360
    • HarperElixir
    • HarperOne
    • HarperWave
    • HarperCollins Children’s Books
  • Katherine Tegen Books
  • Olive Tree
  • Walden Pond Press
  • William Morrow
    • William Morrow Cookbooks
    • William Morrow Paperbacks
  • Witness
  • Thomas Nelson
    • Nelson Books
    • Grupo Nelson
    • Tommy Nelson
    • W Publishing Group
    • WestBow Press
  • Zondervan
    • Blink
    • Editorial Vida
    • Zonderkidz
    • Zondervan Academic

Macmillan Publishers is owned by the German company Verlagsgruppe Georg von Holtzbrinck. They own:

  • Bedford / St. Martin’s
  • Bloomsbury USA
  • The College Board
  • Drawn and Quarterly
  • Entangled Publishing
  • Farrar, Straus &Giroux
    • North Point Press
    • Hill and Wang
    • Faber and Faber Inc.
  • Fiewel & Friends
  • First Second
  • Flatiron Books
  • Graywolf Press
  • Guinness World Records
  • Hayden-McNeil
  • Henry Holt and Company
    • Metropolitan Books
    • Times Books
    • Holt Paperbacks
    • Henry Holt Books for Young Readers
  • Imprint
  • Kingfisher
  • Macmillan Higher Education
  • Page Street Publishing Co.
  • Palgrave Macmillan
  • Papercutz
  • Picador
  • Priddy Books
  • Roaring Brook Press
  • Rodale
  • Martin’s Press
    • Griffin
    • Minotaur
    • Martin’s Press Paperbacks
    • Let’s Go
    • Thomas Dunne Books
    • Truman Tally Books
    • Palgrave Macmillan
  • Square Fish
  • Tor / Forge
    • Starscape
    • Tor Teen Books
    • Tor Children’s
  • Macmillan Audio
  • Macmillan Children’s Publishing Group
  • Walker & Company
  • H. Freeman
  • Worth Publishers

Penguin Random House is owned by German media conglomerate Bertelsmann and has nearly 250 imprints and publishing houses so I won’t list them all here! They own:

  • Random House Publishing Group
    • Ballantine Books
    • Bantam
    • Delacorte
    • Del Ray
    • Del Ray / Lucas Books
    • Dell
    • The Dial Press
    • The Modern Library
    • One World
    • Presido Press
    • Random House Trade Group
    • Random House Trade Paperbacks
    • Spectra
    • Spiegel & Grau
    • Villard Books
  • Random House Value Publishing
    • Children’s Classics
    • Crescent Books
    • Derrydale
    • Gramercy Books
    • Testament Books
    • Wings BOoks
  • Knopf Doubleday Publishing Group
    • Alfred A. Knopf
    • Anchor Books
    • Doubleday
    • Everyman’s Library
    • Nan A. Talese
    • Pantheon Books
    • Schocken Books
    • Vintage
  • Crown Publishing Group
    • Amphoto Books
    • Back Stage Books
    • Billboard Books
    • Broadway
    • Broadway Business
    • Clarkson Potter
    • Convergent
    • Crown
    • Crown Business
    • Crown Forum
    • Doubleday Religion
    • Harmony Books
    • Hogarth Press
    • Potter Craft
    • Potter Style
    • Ten Speed Press
    • Three Rivers Press
    • Tricycle Press
    • Shaye Areheart Books
    • Waterbook Multnomah
    • Watson – Guptill
  • Penguin Group US
  • Dorling Kindersley
  • Mass Market Paperbacks
  • Digital Publishing Group
    • Alibib
    • Flirt
    • Fodor’s Travel
    • Hydra
    • Listening Library
    • Living Language
    • Loveswept
    • Princeton Review
    • Random House Audio
    • Randon House Large Print
  • Random House Children’s Books
    • Kids@Random
    • Beginner Books
    • David Fickling Books
    • Nickeldeon Books
    • Delacorte Press
    • Golden Books
    • Prima Games
    • Step Into Reading
    • Schwartz & Wade
    • Stepping Stone Books
    • Sylvan Learning
    • Wendy Lamb Books
  • Penguin Young Readers Group, U.S.

Simon and Schuster is owned by the media company CBS Corporation. They own:

  • Aladdin
  • Altheneum Books for Young Readers
  • Atria
  • Beach Lane Books
  • Chicken Soup for the Soul
  • Folger Shakespeare Library
  • Free Press
  • Gallery Books
  • Hooked on Phonics
  • Howard Books
  • Kaplan Publishing
  • Little Simon
  • Margaret K. McElderry Books
  • Merck
  • Paula Wiseman Books
  • Pocket Books
  • Reader’s Digest
  • Ripley Publishing
  • Scribner
  • Simon & Schuster
  • Simon & Schuster Books for Young Readers
  • Simon Pulse
  • Simon Spotlight
  • Threshold Editions
  • Touchstone

How many of these names are you familiar with? Were you surprised at who owns what?