Pub Rants

Category: publishing

Editorial Anonymous Dictionary Of Publishing Terms

by Kristin Nelson

STATUS: I’ve got a crowd of things on my desk—two of which are important in terms of must get done today. So short, sweet, and to the point works for me.

What’s playing on the iPod right now? POETRY MAN by Phoebe Snow

Hey blog readers, if co-op was interesting, do you want to hear more info about P&L Statements, Bookscan, PPB, Earn-out etc.?

Then hightail it over to EA’s blog and make your interest known. I know That Anna Genoese (formerly an editor over there at Tor) used to blog about a lot of these topics when she was still working over there but I haven’t seen an editor tackle any of these subjects in a while.

Brilliant I say.

Let’s Talk Co-Op

by Kristin Nelson

STATUS: I’m blogging before 7 p.m. Makes me feel like I’m ahead of the game today!

What’s playing on the iPod right now? YOU’VE MADE ME SO VERY HAPPY by Blood, Sweat, & Tears

I probably shouldn’t make an assumption as I start this blog entry that readers know what Co-Op means. Given that, I’ll start with what it means in publishing. When we say co-op, we are using this as a short-hand term for referring to a process of publishers paying booksellers for the privilege of having certain titles prominently displayed on front tables, endcaps, or shelves when a book is initially released.

Otherwise, the book is unpacked and placed on the regular shelf—and if you’re really lucky, maybe placed there face out. Usually it’s just the spine that is showing.

Now as you can imagine co-op placement doesn’t occur for every title; it can’t. Too many books are published on any given day which means booksellers can only accept X number of titles for co-op placement depending on the size of the store. And it goes without saying that publishers only have so much money to pay for co-oping as well.

In general, publishers reserve co-op for their big authors and/or lead titles on any given launch list.

But even as I’m writing this and you are nodding your head, you are probably realizing that bestselling titles tend to be prominently displayed for months on end—even years sometimes. Surely the publisher hasn’t paid for the privilege for all that time?

And you would be right. There is an interesting balance dance between bookstores/sales outlets and publishers. Initially, if a title or author is new, a publisher has to pay to get that prime real estate. However, when a title/author has proving him/her/itself, then the balance tips in favor of the publisher as they then no longer have to pay for that prime location. It becomes in the seller’s best interest to have that title prominently displayed because it’s a money maker for them as buyers will be looking for that author or title. And hopefully they’ll buy other titles too on their way to the cash register.

And then there are programs such as Borders Original Voices. If a title gets picked for this program (and the Borders buyer does the picking—publishers cannot pay for this privilege), then a title or author is going to get the full support and backing of this outlet in all kinds of really positive ways—prime location just being one of them. Now publishers do send out hundreds of ARCs for a shot at the possibility but other than that, they have no say in what will be chosen.

It’s a wonderful thing to be picked for this as you can imagine.

What We Say When We Talk About Covers

by Kristin Nelson

STATUS: It’s been one of those days. It’s almost 4 o’clock and I haven’t even tackled my TO DO for today. Seriously, I think I only get my scheduled work done at the office between the hours of 3 and 7.

What’s playing on the iPod right now? SAY HEY (I LOVE YOU) by Michael Franti and Spearhead

What is said 1: “I’ve shown this cover to everyone here in the office and we all love it. I hope you love it as much as I do.”

What is said 2: “This has been approved by sales & marketing and they just love it. I hope you love it as much as I do”

What is said 3: “We believe our concept is very strong and will really signal that this is a big book. We are excited about the author and these covers.”

Possible Translation 1: Everyone in the office indeed loves it. Sales & Marketing also love it and has approved it. The cover really does rock. It’s new, original, fresh, and innovative.

Possible Translation 2: Editor is worried about the cover but is hoping for the best. That we’ll like it and won’t raise a fuss. There won’t be a cover issue.

Possible Translation 3: That this is really not the greatest cover but time and money have been spent on the concept and the art design/photo shoot and the publisher really doesn’t want to start over. Editor will have a tough road to try and change it.

Possible translation: Editor actually doesn’t care for it but must present it as is. Is hoping we’ll raise a fuss so she can go back to the Art Department and say “see, I thought this was a miss.” Editor then fights strongly for a cover change.

I’ve never had an editor come to me and say, “gee, I think this cover stinks. I think it needs a do-over but what do you think first?”

For the most part, I really do believe that publishing houses and their cover departments have a good handle on the creating of the cover art. That it is their expertise more so than it is mine.

But I don’t believe that publishing houses always know best. If they did, there would never be bad covers. There would never be two covers for two different authors with the same image or the same model on the cover. And released at the same time. There would never be covers that are nixed by the B&N buyer.

The Cover art wouldn’t ever miss.

But it does. Far too frequently.

Consultation

by Kristin Nelson

STATUS: Such is the joy of January that the processing of Client 1099s with my bookkeeper is fast upon us.

What’s playing on the iPod right now? SO WHAT by Pink
(and man has this title been stuck in my head all day!)

It’s been awhile since I did a real rant on my blog so what better way to kick off the new year then to treat my reading audience to one?

Agents fight the good fight to get a little clause into author contracts that states that the author will have consultation on the cover and the cover copy (be it flap copy, back copy, or what have you).

For the most part, this isn’t too hard to do and is usually established in the agency’s boilerplate with the publisher.

Great right? Cover consultation means that the author will be consulted on what the final cover will look like. One would assume that it would mean that the author might have some input into what the final cover will look like. And all parties understand that given a disagreement on the cover, the publisher will have final say. [Cover Approval stated in contracts being reserved for the Nora’s, Stephenie’s, Neil’s, Stephen’s, and JK’s of the world.]

Good. Everyone is agreed.

And here comes the rant. But what constitutes “consultation” varies widely from publisher to publisher.

Some publishers send the final cover that can no longer be changed, and say you’ve been consulted. Grrrr. If the cover stinks, I’ve got a big fight on my hands. All of which could have been avoided had we just been really consulted—as the contract states.

Some publishers make you work for the consultation. Grrrr. This means you have to call the editor, email the editor, and harass the editor until you get the cover. It’s frustrating and exhausting and let me tell you, if I have a choice between publishers, I’ll consider this aspect when looking at the two deals on the table.

I do want to state here, in general, most editors really do want their authors to be happy with the cover and so will work with you but the above happens enough to make me want to pull my hair out.

Last week I was chatting with an editor (a big and powerful editor whom I just adore) who has included the author and me on every step of the cover process. From the first conception draft to the “final” draft that went to sales (who then rejected it and then we had to start all over and tackle second draft concepts etc.). And when I was talking to this editor on the phone, I paused and took a moment to thank her for really consulting with us on every step of the process. Not just paying lip service to the clause in the contract but really consulting us. And this for a debut author to boot! [Agents expect this with established authors]. Talk about a sheer joy this has been!

She was startled and said, “Why wouldn’t I? You two have been great.” How I long for every editor to handle it this way. Now please keep in mind this: both the author and I were sane, objective, reasonable, and actually offered good suggestions and because of that, all input was taken seriously. Thus the editor trusted us to work on the cover with her—not against her. This plays a big part in this whole consultation game.

But what I wouldn’t give for the cover process to be just like this for every book I sold. I will make sure that during this process, my author and I are sane, reasonable, and offering good suggestions. Just simply give us the chance.

Buddy Can You Spare A Buck?

by Kristin Nelson

STATUS: I’ve actually been working on two contracts today—in between some necessary phone calls.

What’s playing on the iPod right now? GYPSIES, TRAMPS & THIEVES by Cher
(Now you know I can’t possibly be lying about what’s playing on the iPod if I’m willing to ‘fess up to this song being there!)

I read in my daily email from Publishers Weekly that Orbit (the SF&F imprint of Grand Central Publishing) is doing an ebooks promotion [click for the site and where you can buy] for a buck.

Excerpt from the Article:
“In a bid to promote its print and digital lists, Orbit is offering dollar e-books to readers on a rotating basis. Marketing and publicity director Alex Lencicki said the program is currently “open-ended” and will continue as long it is successful. When asked how the success of the program would be measured, Lencicki said if the dollar e-book drives either print or digital sales–or turns readers on to a particular series–it will be a hit.”

First up is debut author Brent Weeks THE WAY OF SHADOWS.

I just did me a one-click to my Kindle. A buck for a brand new book? Heck yes, I’m willing to try a debut author.

What say you?

Creative Cost Cutting

by Kristin Nelson

STATUS: I’m in the Caribbean this week—doing a vaca before the holidays. Yes, that made sense in some universe at the time that I booked the trip. So blogging might be spotty. I am, however, looking at a lovely blue ocean while holiday music plays over the speaker. Incongruous to say the least!

What’s playing on the iPod right now? DO THEY KNOW IT’S CHRISTMAS? by Band Aid

I have to say that I’m all for creative cost cutting if that takes the place of lay-offs in the publishing industry.

This week Harlequin sent out an email firmly requesting that authors limit their manuscripts to 100,000 words and under. That will significantly save on paper and printing cost. Guess that means no epic historical romances a la the 1980s. Big grin here.

And the Penguin Group is finally doing what I think publishers should have done something like 5 years ago. They are converting all their computers to laptopTablet PCs with docking stations so that editors can read and edit (“handwrite” if they want to via electronic pen) comments into their authors’ manuscripts.

No more printing out pages. Comments electronically in track changes! Hooray. Fewer trees need to be sacrificed.

By the way, I’ve been doing tablet PCs since 2003. Part of the reason why we’ve been paper-free for the life of my agency.

When A Freeze Is Not Really A Freeze?

by Kristin Nelson

STATUS: 16 days until the agency officially closes for the holidays.

What’s playing on the iPod right now? A HOLLY JOLLY CHRISTMAS by Burl Ives

News Flash: It just hit the wires that Ann Patty has been fired from HMH. Whoa! And S&S just announced lay-offs. Not clear who was let go in editorial quite yet…

In case you aren’t plugged in to Publishers Marketplace (and if you aren’t, why not?), there have been several new reports regarding the Houghton Mifflin Harcourt announced freeze.

First off, HMH publisher Rebecca Saletan resigned. I can’t really tell you what that means. There’s lots of speculation on what it means but that’s all it is, speculation.

Then today I read an AP article (highlighted in PM) which reported a lessoning stance on the “freeze.”

From the report: “HMH spokesman Rosenfeld has called the current policy “freeze-lite,” … Rosenfeld confirmed that education and children’s books are still being acquired, did not dispute Penzler’s assertions and added that the “right” book, of any kind, would still be considered. He said talk of a freeze had been taken out of context.”

Rosenfeld continued with: “A headline about a freeze is very appealing, but in reality all we’re doing is taking a good, hard look at everything that comes in, much the way this company is watching all expenses and expenditures,” he said. “It’s just a higher degree of scrutiny.” Link to full article.

So the freeze isn’t really a freeze? Agents should be happily submitting to the adult division of HMH? I’m feeling the confidence….

Let me take another sip of my eggnog chai. It helps.

The HMH Hold Is Not For Children

by Kristin Nelson

STATUS: Happy Turkey Day! I’m out for the rest of the week so back to blogging on Dec. 1.

What’s playing on the iPod right now? GETTING BETTER by The Beatles
(Seriously, this is what is playing currently at the moment…)

As to yesterday’s news….

This morning, I did get a chance to talk to an Editorial Director at Houghton Mifflin Harcourt Children’s.

She mentioned that the hold did not apply to the children’s division and that she had acquired something just yesterday.

So a little good news on that subject.

As for the hold in the adult realm and how long it will last, I have not uncovered any new information beyond the rumors flying around. If I do discover info from a reliable source, I’ll pass along.

Have a great holiday and see you back here on Monday.

A Hold On Acquisitions

by Kristin Nelson

STATUS: Harbinger of bad news I’m afraid.

What’s playing on the iPod right now? O HOLY NIGHT by Paul Potts
(I haven’t transferred the holiday music to the iPod yet but this one was still on there from last December.)

Ack! Computers. I can deal with it. Ack! Publishers. I don’t want to deal with this. This just off the news wires folks. This is the first time I’ve seen this. Now, granted, I’ve only been in publishing for the last 7 years so really, just a baby amount of time, but I’m talking with some agent friends who have been around for a lot longer and it’s the first time they’ve seen this as well.

This might be an interesting ride over the next 6 months…

From Publishers Weekly
Article by Rachel Deahl

[excerpt]It’s been clear for months that it will be a not-so-merry holiday season for publishers, but at least one house has gone so far as to halt acquisitions. PW has learned that Houghton Mifflin Harcourt has asked its editors to stop buying books.

Josef Blumenfeld, v-p of communications for HMH, confirmed that the publisher has “temporarily stopped acquiring manuscripts.” The directive was given verbally to a handful of executives and, according to Blumenfeld, is “not a permanent change.” Blumenfeld, who hedged on when the ban might be lifted, said that the right project could still go in front of the editorial review board. He maintained that the decision is less about taking drastic measures than conducting good business.

Here’s the link to the full article.

In The Children’s Realm

by Kristin Nelson

STATUS: Computer stuff is ongoing and will spill into tomorrow. Oh Joy. (Love the new monitor though!)

What’s playing on the iPod right now? ON THE RADIO by Donna Summer

Because I promised to share my notes (and I only have about 10 minutes to blog), here is what I have scribbled down from the children’s editors I talked to. In no particular order:

–Looking for contemporary stories with a paranormal element. Contemporary main story with just a touch of paranormal.

–voice and character driven fiction (isn’t that what all editors want?)

–a family-oriented story with complicated relationship between main character and parents or main character and siblings etc.

–gritty fiction

–novels where the reader watches while the main female protagonist makes bad choices or learns to survive

–quirky funny, outcasts, dark but weirdly funny

–MG fantasy

–literary voices in YA or MG, well-crafted stories

–more Meg Cabot-type stuff

–hip or hot topics

–MG or YA with boy protagonists