May 31, 2018 § 11 Comments
On Tuesday, we talked about publishers soliciting authors in the guise of a publication offer.
That’s not a book deal. That’s a (slick) commercial for their services.
But for some authors, “hybrid” publishing works. Could it be right for you?
Old-school vanity publishers know their terrible reputations, and many have rebranded as “hybrid.” They charge authors a “contribution” that pays their costs and a healthy profit margin. They don’t care if your book sells—they already made their money. You may end up with cartons of unsold books, text badly or not-at-all edited, dreadful covers, crappy page design.
True hybrid presses offer a legitimate package of publishing services. It costs more than self-publishing—they still profit before selling your book—but you’re not doing it all yourself. Hybrids can provide a smoother publication process, bookstore placement, reviews, and some of the legitimacy of an imprint.
Is hybrid right for you? Well…
1) Do you want a long-term writing career?
“At least I’ll be published” is the worst possible reason to go hybrid. Low first-book numbers make it harder to sell a second book. It’s better to be a debut author than one who’s sold under 10,000 copies—publishers want a positive track record or no track record at all.
Going hybrid, at least one of you thinks you won’t sell many copies. If the publisher thinks you’ve written a bestseller, they don’t need your money. If you think you can do better, pursue traditional publication or explore self-publishing.
But if you’re up for tenure, a reputable hybrid press gives you a resume credit. If you’re launching a public-speaking career and selling books after every motivational speech, you’re busy marketing yourself—let them handle cover design and proofreading.
2) How much energy do you have for marketing?
Even Big-Five published authors end up marketing their own book. But hybrid (and small independent/university) presses often lack media contacts. Does your potential publisher display at industry events like the Frankfurt Book Fair or BookExpo America? Do they have readings or signings at regional book festivals? Do they have a list of radio station managers to contact? Check their social media for links to author interviews and reviews in national media. If they can’t market your book in places that cost money or connections to enter, they aren’t doing anything you can’t do yourself.
If you’re newsworthy in a way related to your book—you just summited Mount Everest without supplementary oxygen or Sherpas; you gave six organs as a living donor; you’re a former child actor just out of rehab—then marketing isn’t your obstacle. Hybrid away!
3) Are you in a hurry?
Traditional publishing takes time. Your book comes out much faster with hybrid or self-publishing—sometimes at the cost of lower-quality editing, design and printing. But good hybrids have an established editing and design pipeline to scoot your book right through. If you’re dying of cancer or facing a major book-selling event next month, you may want to pay for publishing.
4) Do you want your book in bookstores?
Traditional presses can get your physical book on a shelf. Bookstores have near-zero desire to carry self-published books, so that’s where an imprint helps.
Go to your favorite bookstores and check for books by your potential hybrid press. Give titles and ISBNs and ask a clerk they’d stock those books or only special-order them.
Ask the hybrid press about returns and the retail discount. If it’s not “we take returns” and the industry-standard 55%—red flag!
5) What’s the royalty split?
Self-publishing, you control the price and get all the profit. Traditional publishing trades a chunk of the net for marketing and reputation. Hybrids take what you agree to give them…on top of the money you paid to publish. Before buying their package, make sure you’re OK with your percentage.
6) Do they want subsidiary rights like audiobooks, TV/movies, or foreign sales?
Red flag. These should stay with the author who pays to publish. It’s unlikely the press will market these rights anyway, and they don’t have enough skin in the game to demand a percentage.
7) Will they edit? What are the editors’ qualifications?
Is your book really done? Like really, really done? Is there still a nagging feeling in your heart that it could be better? Ask what kind of editing will be done, and by whom. “Our in-house editor proofreads” is not the same as helping your prose sing and your story hang together.
8) What are their actual, printed books like?
Order a couple titles. Is the paper thinner than you expected? Do you see typos, blurry print, bad layout? Is the cover art just plain ugly? Pull out books in the same genre from your shelves and make a table display. Do the hybrid books belong?
9) Due diligence!
- The Independent Book Publishers Association has set guidelines for hybrid presses. This is the bare minimum of legitimacy.
- Search the publisher name + “scam.” Search again on Absolute Write (make a free account for better info).
- Check Writer Beware, a wonderful resource that details bad-faith agents and publishers.
- The Science Fiction and Fantasy Writers of America have a list of what to watch out for when approached by a publisher.
- Read Jane Friedman’s The Business of Being a Writer for a greater understanding of the industry.
Going hybrid might be the right choice for you. But go in with your eyes open. Hybrid publishing is not a “book deal,” it’s a package of services you purchase. Make sure you’re getting your money’s worth.
Allison K Williams is Brevity‘s Social Media Editor. This summer she’ll be at Cedar Ridge Writers Series, VCFA’s Postgraduate Writers Conference, and Hippocamp. Come say hello!
May 29, 2018 § 12 Comments
You open your email, and O frabjous day! A publisher has come calling! They’ve seen your work in a literary magazine and wonder if you have a chapbook, or would like to be in their anthology. Or you didn’t win a contest, but your work “shows merit” and “deserves to be published.” Maybe you wanted a faster process than querying agents, or figured your work better suited a small press, so you cast out to a few publishers, and one has bitten.
You read a little further. This publishing house “considers work for both traditional and hybrid publishing.” If your book is seen as better suited to a hybrid deal—perhaps due to “the difficulty in placing the books of new or untried authors, as well as the general increased competition in publishing today”—the publisher feels “that it may be necessary to ask for a contribution from you.”
Maybe it’s even right up front: We’re a hybrid press. Our package costs $XXXX, and you can add on additional services at $XXX, $XXXX or $XXXXX.
The email is reassuring. Someone has recognized the quality of your work. After all the hype about “platform,” someone wants your book based on your writing. You don’t have to hit 10,000 followers or make mailing-list spreadsheets. It’s a relief.
But most of the time, it’s not true.
Not (technically) a scam or a fraud. But a well-designed system to separate hopeful authors from hard-earned dollars, waste their time and leave them with unsold, often un-edited and poorly-designed books.
Remember the old saw about things that seem too good to be true? That maxim goes hand-in-hand with another cliche: You can’t cheat an honest man. You can only sell a five-dollar diamond ring to someone who thinks he’s ripping you off.
Writers who seek hybrid publishing “deals” aren’t grifters. But they are to some extent sidestepping the work of getting published. Submitting and pitching to small magazines, medium journals and mass media. Blogging/newsletter-ing to build their core audience. Going to readings and events, collecting names and emails. Being a literary citizen. We’re all looking for a lucky break, and lightning may well strike, but it usually strikes while we’re in the middle of the process. The process that sets us up to be able to sell books once we do get that publishing deal.
Most authors who pay to publish end up doing the real work anyway. Pounding the pavement to get their book in a few stores. Emailing the target audience (key demographic: “everyone I know who has ever read a book”). They’ll do that work with a larger cash investment than traditional publishing and far less potential monetary reward than self-publishing. Their copyright may end up in the publisher’s hands—the publisher who may also now own all their subsidiary rights.
Remember that part about “the process that sets us up to be able to sell books”? Memoir, creative nonfiction and self-help are hard to sell without “platform.” Basically, the number of people who will buy your book or spread the word about it. Platform can be:
- social media followers (10,000+ real followers who engage with your posts)
- a speaking career (at major events where books can be sold)
- group membership (i.e., a nationwide service club or large religious organization; a class of people like “patients suffering this disorder”)
- writing articles or essays about the book’s subject matter, and publishing them in medium-to-major mass media or significant literary journals
- a public career like radio show host or TV presenter
Without platform, a traditional publisher doesn’t want to buy the book because they can’t sell the book. It’s also hard to self-publish without enough people to sell the book to. Unfortunately, so many books come out each year that, without a built-in audience, it’s rare for readers to discover and purchase any single book. Novelists still market hard, but for some there’s an existing base of blogs, reviewers, and genre fans to help the book get momentum and word-of-mouth. Nonfiction books by non-famous people are usually not newsworthy, so the writer needs an existing audience who will spread the word and buy the book themselves.
One of the things you can do to start momentum for your work is to revise sections of the book as possible magazine or newspaper articles, and seek publication in mass media. You can also turn chapters into self-contained essays to submit to journals. Whether you end up with a traditional publisher or a self-supported plan, getting your work out there will help future sales, and help you gauge your audience. Memoirists who publish a “hot essay” (the legendary venue is Modern Love, but there are plenty more places) often get offers from traditional publishers, or have agents seek them out.
Legitimate publishers have writers beating down their doors. Unless a writer recently did something very newsworthy, made a big splash with an essay, or regularly speaks at large events, publishers don’t come to us. We go to them. Self-publishing is totally legit, but you can coordinate it yourself, and publish with Createspace, Lulu, Smashwords and/or Ingram. That’s more work, but usually costs less, and you make all the money and keep all the rights.
Sometimes a true hybrid publishing deal can be the right choice for some authors. On Thursday, we’ll talk about what a good hybrid deal looks like, why you might want one, and questions to ask the publisher.