May 31, 2018 § 12 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!
April 15, 2010 § 1 Comment
Jay Nicorvo, in a recent Guernica essay, offers a convincing examination of what is wrong (and right) in publishing these days, and begs to differ with Ted Genoways’ recent essay on “The Death of Fiction.” Nicorvo’s argument, in brief, is that the big NYC houses have lost their connection to readers, while “limber, light-on-their-feet” indie publishers see nothing but opportunity in the new media new market. He makes good sense, and give us hope.
These days, editors at commercial publishing houses … no longer know how to reach the reader. Old media had a direct line to the audience that bought books, newspapers, and magazines. Publicity and marketing departments knew where to effectively (if not cheaply) spread the word about forthcoming titles and upcoming issues, expecting to get out what they put in. They’d print a few hundred or a few thousand galleys, mail them first-class to reviewers, watch the reviews roll in, and count the sales. But reviews no longer sell books. New media is the internet, and publicity and marketing departments have little central control over the flow of information … And so what do editors do? They cling to what’s working, if not working well — blockbusters. The dominant, dysfunctional business model for movies has been adapted for books. And this is why more authors like John Edgar Wideman have had enough; he’d rather self-publish and have a larger say than be hamstrung by a system favoring quantity over quality.
It’s the Ted Genowayses of the world, editors at literary magazines, university and independent presses, who still … (choose) those manuscripts which, to the best of their subjective judgment, are really the prettiest as they see them. And while we’re still in the recesses of the Great Recession, even as retirement funds and university endowments begin a gradual rebound, university-affiliated publishers are feeling particularly pinched. But the more limber, light-on-their-feet publishers—those not tied to state institutions funded by tax revenue—the indie publishers mission-driven to publish literature, they’re the ones surviving and even thriving, thanks to changing, cheapening technology and the preferred tax status that their missions afford them. This, the privileged position of the first degree, may be a main reason why the incoming editor of The Paris Review is leaving a storied commercial publishing house, and an imprint thought to be a last commercial bastion of the literary novel, for independent publishing.
… The best writers write because they have to, but the best editors edit because they want to. It’s the editors, not the writers, who need encouraging. Editors need to change what, and how, they acquire. And what better encouragement for change than a terrible economy? Or, in the words of Rahm Emanuel, “You never want a serious crisis to go to waste.” If such a crisis brought about the restructuring of the Detroit auto industry, aided by the desperate implementation of available and developing technologies, it can usher in the restructuring of New York City publishing.