Anthony Horowitz on proofreading

Meanwhile, across the river, I have my adult publisher, Orion – and they also have problems with me. Relations between us have been strained ever since they published my Sherlock Holmes novel, The Mouse of Slick, with no fewer than 35 proof-reading errors. Their proof-reader tried to kill herself. She shot herself with a gnu.

—Anthony Horowitz, ‘Do We Still Need Publishers?

(For those not in on the joke, Mr. Horowitz’s Sherlock Holmes novel is actually called The House of Silk. We think. Unless it really is The Mouse of Slick, and Orion misspelt it on the cover.)

Templates

I’m in night mode right now, which is probably a good thing, since the Calgary Stampede has started up, and the drunken revelry down the hill from me doesn’t even begin to quiet down until 3 a.m. Fortunately I like working at night, and I’ve got a fair amount done this weekend: a CreateSpace template, an ebook template, and a lot of boning up on the art and science of book design. I give the details of my process here, in case anyone is interested.

[Read more…]

Isaac Asimov on self-assessment

As reported in Kristine Kathryn Rusch’s combox:

Dear Dr. Asimov,

When do you know that a story is good enough to be published?

—Edward Willett

Dear Mr. Willett:

When it is published.

—Isaac Asimov

Plus ça change

Now that anyone is free to print whatever they wish, they often disregard that which is best and instead write, merely for the sake of entertainment, what would best be forgotten, or, better still be erased from all books.

—Niccolò Perotti, 1471

Publishing: self, trad, and the gross

One reads a lot about the different percentages that writers receive through self-publishing vs. traditional print publishing: for instance, this piece in Forbes about Mark Coker and Smashwords. I prefer to break down the numbers in a different way, by looking at grosses rather than percentages. With your gracious permission:

If I, as an unknown writer, do somehow sell a book to a traditional publisher, I’ll probably receive a $5,000 advance, take it or leave it, with no significant prospect of its ever earning out. So how much do readers have to fork over at retail to earn me that money?

In MMPB from a traditional publisher, I’m getting 8 percent if I’m lucky (assuming that sales and returns are reported honestly); lower rates from some houses. That means that readers have to spend $62,500 for me to earn that $5,000; which equates to 7,822 copies of a $7.99 paperback.

With a self-published ebook, I’m getting 60 percent on sales through an aggregator; more than that on direct sales through Amazon, but a bit of that will be lost to their bandwidth charge, so we’ll simplify the math and assume 60 percent across the board. I’ll need $8,333.33 in retail sales to earn my $5,000 nut. If I’m charging $3.99 for that book, I need to sell 2,089 copies.

I make the same amount of money from a quarter of the number of readers, and charging half the price. It’s a lot easier to find buyers for 2,000 widgets at $3.99 than for 8,000 widgets at $7.99. Of course books are not widgets; but different cheap editions of the same book are essentially fungible.

Looked at another way: if the reading public spends a million dollars on traditional print books, it provides a living wage for approximately two full-time writers. If it spends a million dollars on self-published ebooks, it provides the same wage for 15 writers. Gee, I wonder which is better for the writer.

 

Panning for mica

J. A. Konrath wrote an ebook called The Newbie’s Guide to Publishing, chock-full of good advice when written; but alas, it is two years old now, and a geological era out of date. I don’t want to make a bad example of Mr. Konrath, who has done a beautiful job of keeping up with the times; his blog remains a valuable source of information and insight. But I want to quote this from the Newbie’s Guide, because it contains an important truth about the traditional publishing business, and a cardinal fallacy about salable fiction:

Consider the agent, going through 300 manuscripts in the slush pile that have accumulated over the last month.

She’s not looking to help writers. She’s panning for gold. And to do that, you have to sift through dirt. It might be some very good dirt she’s dismissing. But it is still dirt.

Be the gold.

The best way to get published, or to win a contest, is to shine. Don’t be mistaken for dirt. Don’t do anything that lets them reject you — because they’re looking to reject you unless you can show them you’re brilliant.

This all sounds very well, but in practice it has a terrible flaw. Mark Twain knew what that flaw was. He learnt it the hard way, and wrote about it in Roughing It: [Read more…]

Some thoughts on ebook pricing

There has been much hollering and handwringing on all sides of the argument about ebook pricing. Traditional publishers claim that printing and distribution are a small part of their costs, and therefore, that ebooks must be priced as high as print books to make money. On the other side, independent writers and a lot of consumers point out that the marginal cost to produce an ebook is approximately zero, so ebooks should be tremendously cheap. The third side points out that retail prices are a matter of supply and demand, and have nothing to do with the cost of production as such.

All three sides are wrong, or at least incomplete. [Read more…]

Mary Sisson on the risks in publishing

Some wise words on weighing risk vs. reward in publishing:

My attitude is to look at what happens if you make the wrong choice.

If you self-publish and you do something wrong, you can fix it. If the entire self-publishing industry implodes, you still have the rights to your work, so you can still go sell it to a traditional publisher.

If you go traditional and something goes wrong, you are completely screwed. You’ve signed away your rights, you don’t have control over how your work is marketed, etc., etc. If your publisher goes under, it’s going to take a long time and a lot of legal work for you to be able to re-sell that work, assuming you ever can. Is it worth to you to take that kind of risk in return for some editing and cover art?

Mary Sisson

Reject yourself! (Mark Twain on quality control)

There are at least two schools of thought about editing and revision in self-publishing.

One (exemplified, perhaps, by Dean Wesley Smith) says that you should write as much content as you can and publish it as soon as it’s done. This results, I suspect, from taking Heinlein’s Rules far too seriously. Folks, they’re not the Gospel according to St. Robert; they’re one man’s opinion, and a very unusual man he was. ‘You must refrain from rewriting except to editorial order’ is fatal advice for a self-published writer, because, in the nature of things, that editorial order will never come. (It did Heinlein great harm, too, in his later years, when his editors stopped trying to argue with him.)

The second school of thought, which I have seen well expressed by Joel Friedlander, is that you ought to take every bit as much care with editing and revision as if you were a conscientious publisher printing someone else’s work. [Read more…]

Extruded Books: a cautionary tale

For some thirty years now, I have been following the commercial publishing industry, particularly in its various New York mutations, and trying (for commercial reasons of my own) to figure out why apparently intelligent people would do business in such cockeyed ways. I don’t pretend to have figured out the whole story, but I have pieced together a good deal of evidence, and I believe I can point out the major turnings in the road that led publishers to the pass they are in today. Rather than bore you, my 3.6 Loyal Readers, with dry details and rubbishy statistics, I shall shamelessly exploit my status as a spinner of tall tales to set forth the data under cover of a fictitious example. All names have been changed to protect the manifestly guilty; so let me introduce you to Nathan Extruded, founder and publisher of Extruded Books. [Read more…]