publishing
Why Owning Your Publishing Rights is Important
February 6, 2012
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by Carly Willsie
Apple announced its iBooks Author application last month to much excitement as authors and publishers alike applauded the free app’s self-publishing capabilities. The cheers quickly died down, however, when sites like Mashable, PC Mag, and the Huffington Post began taking issue with iBooks Author’s user agreement. The sites noted that, by publishing your work on iBooks Author, you relinquish your book’s publishing rights to Apple.
Although Apple wouldn’t exactly own your content (it doesn’t lay claim to the content itself, but does stipulate that you sell your book exclusively through the iBooks store), the arguments did expose a very important—but not very often discussed—aspect of publishing: rights ownership.
So, what’s the hullabaloo all about? Why are publishing rights important, and why should you care if you own yours? We’ve listed some of the key benefits to publishing rights ownership below.
Varied Distribution
When you own the publishing rights to your unique content, you choose where it sells. Want to stock your book in a friend’s boutique? Have hopes of pursuing grocery store distribution on your own? Feel like boycotting Amazon? You’ll have to own your publishing rights for that kind of personalized distribution, and that includes listing the book on your own website. Notice that authors who have published with traditional presses—and, consequently, sold their publishing rights—generally won’t have a direct buy button. You’ll be directed to Amazon, Barnes & Noble, or another e-tailer instead, even though sales made directly from your website will make you more money, bring more opportunity for interaction with your fans, and build your ever-important fan list.
Repurposing
Many nonfiction authors have content that will need to be periodically updated, while others recognize the importance of ancillary products and wish to repackage their book in a workbook or learning format. If you don’t own the publishing rights to your content, you’d have to buy the rights back to accomplish this repurposing, or convince the publisher that a new edition is needed (a harrowing feat). Repurposing can include audiobooks and movie rights as well. Have dreams of turning your book into a blockbuster some day? You’ll make more money—and will be able to choose the story’s buyer—if you own those rights. Ownership of the rights to publish in different, specific formats can sometimes be negotiated into your publishing deal.
Back of the Room Sales
Similar to varied distribution, owning your publishing rights will allow you to take full advantage of any back of the room sales opportunities. Are you a public speaker? Plan on hosting any workshops or seminars this year? Do you teach a class, or own a business? You’ll want the option of selling directly to your audience and customers. You’ll make more money, more connections, and build credibility with these sales. In most cases, the party who owns the publishing rights also owns the inventory of books. Were your publisher in charge of your rights, you’d have to buy your own books from them in order to sell at your events. Not fun.
Creative Control
One of the most important—and most overlooked—benefits of rights ownership is full creative control of your book during the publishing process. Most authors feel strongly about every detail of their work—as they should! You’ve worked hard crafting your book, why should someone be able to completely alter it without your consent? In most cases, when you own your publishing rights, you have the ultimate say in everything about your book—the direction of the editorial, design, packaging, cover copy, and more.
There is no right or wrong choice when it comes to choosing a publisher for your book. Many authors have personal, financial, or emotional reasons for choosing whom they work with, and, ultimately, it all comes down to fit.
Whichever publishing direction you choose to take for your own book, knowing whether or not your publisher owns your publishing rights is essential. Be sure to have a lawyer review your contract and explain the ownership clauses. Above all, take your time, make sure you feel comfortable with the contract before signing, and know what, exactly, the stipulations mean for the future of your book.
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The Big Bad Book Blog's Link Love
October 14, 2011
by Roxanne Heuschkel
In true book nerd fashion, we’ve rounded up our favorite publishing-related links of the week for you! Read on to uncover the best in books this week. If you want to know about these links sooner than Friday afternoon, follow us on Twitter—@GreenleafBookGr.
- iPad beware: Budget tablets are stepping up to the plate in 2012 by slashing prices to meet the competitive price point of $200. We’ll see who comes out on top after brands like Velocity Micro and Amazon Kindle drive down their prices.
- The days of happy endings and forever afters are long gone, says New York Times columnist Maria Tatar. Tatar claims that YA authors are crossing over to the dark side: “The savagery we offer children today is more unforgiving than it once was, and the shadows are rarely banished by comic relief. Instead of stories about children who will not grow up, we have stories about children who struggle to survive.”
- Pam Moore, the Marketing Nut, gives us 41 signs you are not a social business, and explains the difference between being social and doing social for the common business leader.
- Do terms like Kindle, iPad, Nook, and Kobo make you go cross-eyed? If you’re interested in learning the basics of ebooks, check out this informative webinar featuring Dana Lynn Smith.
- The National Book Awards finalist were announced this week—but not without error. Shine was mistakenly named in place of the similar-sounding Chime. Sorry Lauren Myracle, you won’t take the gold for the National Book Award this year, but hey, all publicity is good publicity.
- Amazon goes sci-fi: This week Amazon announced a new imprint, 47North. The imprint will cater to avid readers of science fiction, fantasy, and horror, publishing original works as well as previously published titles. 47North’s debut will be comprised of fifteen books, including The Mongoliad: Book One
- Connecticut gets tough with Amazon, pushing back on the online sales tax issue. State officials stand strong on requiring Internet sellers to collect state sales taxes. BusinessWeek states that taxes in Connecticut should have been collected “at least during the month or so when the new law was in effect and Amazon still had affiliations with websites in Connecticut through its Amazon Associates Program. Amazon severed those ties in June.”
- Apple and Google go head to head as the iPhone 4S and Droid Bionic battle for smartphone dominance. With the 4S stocking up in stores this week, NPR gives us a low down on its specs versus the Bionic’s Android operating system.
- An Ode to the Bookstore: None of us wants to see the demise of our beloved independent bookshops. While some critics claim that these stores will soon become archaic, others hold to the belief that the soul of bookstores will stand the test of time.
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What's the Best Time of Year to Publish?
October 12, 2011
by Carly Willsie
Now that it’s the middle of October, the weather is getting cooler (even here in Texas!), lawns are getting leafier, and we’re starting to look forward to the holiday season.
Chances are you’re going to be seeing a lot of bestseller pushes and a lot of flashy book displays as the holidays approach. If you’re an author with a manuscript, you’re probably wondering if you, too, should be getting in on the holiday rush. But when, really, is the best time to publish?
Publication date is mainly driven by production milestones—finalizing the manuscript, completing the book cover, converting to ebook formats, and setting the printing timeline. And publication dates have become more fluid as POD and ebook models continue to thrive. If you’re working with a traditional publisher, you might find that you have no control over when your book hits the shelves. However, if you’re self-publishing or working with an independent publisher like Greenleaf, you might have some say in your publication date.
Author and publishing veteran Jeffrey Krames advises that business books usually sell well in the earlier autumn months, while coffee table books, fiction, and big biographies all do well around the holiday season, since they are more often given as gifts. Fall months are traditionally a good time to publish for most genres. It allows booksellers to stock the title for the holidays, and also capitalizes on the “back to school” mind-set.
Late November and December can be tricky publication months. Not only is there rampant holiday clutter in pretty much any retail environment, but many booksellers have also already made their buying choices for the Christmas season. End-of-the-year publication also superficially cuts off your book’s longevity. A book published on December 30, 2011, will seem older than a book published January 2, 2012—even though they’re technically only a few days apart.
If your publication date gets pushed back to November or December, don’t fret. If you’re doing your job right—that is, marketing your socks off—you’ll be able to overcome any timing snafus. If you’re publishing an ebook, having a December pub date might even work in your favor, as many people with new ereaders may be surfing for new authors.
January is also a great publication month for many genres. Self-help, fitness/health, and many financial titles will do well at the beginning of the year as people take on a “new year, new you” mind-set. If you’re publishing in one of these genres, timing your date to coincide with the beginning of the year could be a good idea. Summer months might also be a good choice—especially for digital books—as many vacation-goers browse airport bookstores and ebook outlets searching for something to take with them on their trips.
As you go into the production process with your book, don’t obsess about your pub date, but do take advantage of it, if possible. Just remember—if you have the right content, a developed platform, and a marketing push behind your book, it has the potential to do well any time of the year.
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ISBN Decoded
May 3, 2011
by Corrin Foster
There are several (confusing, complicated, and time-consuming) compliance requirements for a printed, saleable book to be, well . . . saleable. The most important requirement is obtaining an International Standard Book Number, or ISBN. (Not “ISBN number” or “izbin." Just ISBN, please.) This number gives your book a universal numerical identifier—sort of a Social Security number for your work. It lasts for the life of the book and allows bookstores, media, publishers, and consumers to order, identify, and refer to your book. In fact, almost all major ordering systems use the ISBN exclusively
ISBNs formerly consisted of ten digits, but the International ISBN Agency changed the system to use a thirteen-digit number because they were running out of ten-digit numbers. Every thirteen-digit ISBN contains five sets of numbers, each separated by dashes.
Lets decode those digits, shall we?
The first three digits are 978, the default prefix for books. When all of the current ISBNs are used, the next prefix will be 979.
The next section may be up to five digits and identifies the country, region, or language of the book; a 0 or 1 means the book is published in English. In the example, it is a 1.
The third series describes the publisher or imprint and is usually six or seven digits long—the publisher number in the example is 929774. These three sets of numbers together comprise your ISBN prefix.
The fourth set is the publication number. Usually, a 0 or 00 is used for the first book by a particular publisher, then a 1 or 01 for the second, and so on. The example’s publication number is 38, meaning it’s the thirty-ninth book released by the publisher who owns the corresponding prefix.
The final digit is the check digit, which can be a numeral from 0 to 9 or the letter X. It is calculated on a modulus 11 with weights of 10 through 2, using X in lieu of 10 where ten would occur as a check digit. Did we lose you? Basically, using an automatic algorithmic calculation (we like to call it magic), this digit acts as a check to make sure the entire ISBN is correct. The check digit in the example is an 8.
And that’s your ISBN in a nutshell!
If we’ve piqued your interest in ISBNs, visit R. R. Bowker, the official ISBN agency in the United States. There you can convert your ten-digit ISBN to a thirteen-digit ISBN, register a new ISBN, and more.
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March 16, 2011
by Katie Steigman
In this series we will address one of the biggest questions facing authors today: how will I publish my book? As little as ten or fifteen years ago, this answer would have been simple: get an agent, who will then pitch the book to major publishers on your behalf. Now, with the wide variety of options available, it can be hard to decide what route to take. This is why, one post at a time, we’ll dissect each of the options in an effort to help authors better answer that question.
In our last post, we talked about how traditional publishers work. Today we will discuss the burgeoning business of self-publishing. Self-publishing (not to be confused with vanity publishing, which we’ll discuss next time) is basically the process of contracting with a variety of professionals to create a book. That might include editors, graphic designers, book compositors, printers, and distributors. So, for example, if you have a complete manuscript, you’ll have to find and pay an editor to work on the content; then a compositor to do the interior layout; then a cover designer to create the cover, back cover, spine, and flaps; and so on. You can also hire book shepherds or packagers, who have a stable of contractors and who will coordinate the work on your book.
Sounds like a lot of work, doesn’t it? Well, there are some good reasons to do it yourself, and we’ll share some of the downsides as well.
Pros:
Ownership. Since you created the book, you own the publication rights to all versions of the book (ebooks, foreign editions, film adaptations, etc.)—unless you sell them to a traditional publisher. Retaining your rights is especially useful if your brand or business is tied to the book and if you’ll want to incorporate parts of the content from the book into your website, seminars, materials, and the like. When you self-publish, you pay the upfront cost, but you also keep a much larger percentage of the profits (to the tune of 35 to 45 percent of the retail price versus 2 to 10 percent with traditional publishers).
Creative control. Since you’re calling the shots, you get to decide exactly how you want your book to look. You have final say on everything—from how the editor approaches the content, to what colors the designer uses in the cover, to the printing specifications and technology.
Speed to market. Having control of the project also gives you the ability to get your content to the market faster than a traditional publisher would be able to. If you have something timely you want out in six to twelve months rather than two or three years, self-publishing is the way to go.
Cons:
Quality. Even when working with purported “experts” you should always be wary of the experience an editor or designer brings to your project. There are plenty of contractors out there with little experience creating a commercially viable book, and it can be a hard pill to swallow if you get stuck paying for low-quality work. Additionally, a self-published book can lack the unity of having one team working on it, as well as the polish a seasoned publisher can provide. Even if you’re working with highly skilled professionals, unless they are receiving the kind of feedback from national retail buyers that major publishers are getting, they will never have the same insight and therefore won’t be able to provide the same level of quality. Many self-published books unfortunately possess a few major missteps that keep them off the shelves of major retailer.
Distribution. Since anyone can self-publish a book, there is no guarantee of quality and self-published books are often viewed poorly by the media and retailers. And because self-publishers generally do not receive feedback from retail, they lack the ability to adapt to the market the same way publishers can. Since retailers can be squeamish about self-published books, getting into retail channels, even with the help of a distributor, can be difficult.
Distinction. For the reasons we’ve discussed (quality control, lack of retail feedback) self-published books can sometimes carry a stigma. Since they generally lack solid retail distribution, their sales histories are usually weak, which makes them a riskier bet for retail buyers. For buyers, it’s a question of choosing something untested with no track record (a self-published book) over a product that has a record of excellence (a traditionally published book).
So what now? There is a wide variety of resources and articles out there for self-publishers (like this one from Nathan Bransford on self-published millionaires). Here are a few websites and books to check out:
- Dan Poynter’s website on publishing, complete with everything from writing and editing advice to information on how to typeset your book and find a printer. Poynter also has quite a few books out on self-publishing.
- John Kremer’s site focuses on book marketing and also offers all kinds of resources for self-publishers.
- Self-Publishing for Dummies by Jason Rich: This book is a simple introduction to the business of self-publishing, complete with the traditional For Dummies graphics.
- The Complete Guide to Self-Publishing by Tom and Marilyn Ross: This book surveys the entire process from writing to printing to promoting.
If your goals as an author are aligned with the pros above and the cons are something you can stomach, it’s probably a good idea to dig a little deeper into self-publishing as an option for your book. Once you’ve done your research, the next step is identifying vendors. The resources above should point you in the right direction and help you find qualified professionals who can provide the services you need to create your book.
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Can't Make it to SXSW? Check out this video of the PubCamp conference!
March 14, 2011
by Katie Steigman
The SXSW PubCamp conference and party took place on Friday, and if you'd like to see what you missed, you can watch the recorded version of the event. The conference was aimed at examining the intersection between readers, writers and technology, and some of the sessions included a Publisher's Weekly panel and speakers from Condé Nast.
At SXSW you can usually expect out-of-the-box talks about new technology, industry changes, and innovative solutions. PubCamp’s content was mostly business-as-usual, though there were some great nuggets of wisdom to be had--it's always good to hear what people are buzzing about. Check out the video yourself and let us know what you think!
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Top 5 Marketing Mistakes Authors Make
March 2, 2011
by Shennandoah Diaz
Writers are an enthusiastic and passionate bunch, but when it comes to marketing, we see more confused faces, blank stares, and resistance than in any other industry. It's easy to be idealistic about writing a book, but when it comes down to it, publishing is a business, and authors who want to sell books need to be on top of marketing. To offer some guidance on the topic, here are the top five mistakes we see authors make in their marketing efforts.
#1 Not Doing Any Marketing at All
The worst thing you can do as an author is nothing. Publishers and bookstores alike are concerned about bottom lines and profit margins. They won’t risk their money on a title with no marketing support. Even if you do manage to get it into bookstores, if you don’t drive people in to buy your book, you may be stuck with hundreds of returns as the books that never sell make their way back to the warehouse (leaving you looking like a dud not worth publishing again). In many cases, you have roughly three months from the date of publication to prove the strength of your title. If it doesn’t move, you can say goodbye bookstore and hello backlist.
#2 Waiting Until They’re Published
Everyone wants a bestseller. Did you know that bestseller status is based on velocity of sales and not on the total amount of sales? That velocity is built largely on preorders from retail stores? Retail stores start making their purchase decisions as many as six months before the date of publication, which means you have to prove you have the followers before you even have a book. You need to start building your author platform now. It takes three months to get traction, six months to see results, and a good year to build up a decent platform. Don’t wait.
#3 Expecting the Publisher to Do It All for Them
Again, publishing is a business. If you go out and start a business, you don't expect the bank who fronts the loan to do marketing for you. Publishers take on titles based on the assumption that you will actively sell your book, and they are expecting you to deliver. Even though this can be frustrating, it’s your career hanging in the balance if the book doesn't sell.
#4 Automating Everything
Too many people—not just authors—think that marketing is automated content. It’s not. I’m all for re-purposing content and streamlining processes, but a constant stream of one-way ads and promotional posts is a cop-out. Today’s market demands engagement. They want direct access to the real you in real time. Don’t set your marketing on cruise control.
#5 Not Making It Professional
Last but not least, too many authors plop a DIY website with no content and a few weak profiles on the Internet and attend one writer’s conference and call that being a professional author. You have to dress for success, and your marketing materials have to be up to snuff. You need to invest in professional websites, vibrant materials, and a professional appearance so you always make a great first impression. Any author with the intention of getting into Barnes & Noble should expect to spend at least $5,000 to $10,000 on marketing.
If you are an aspiring author, I implore you to take heed and put some thought and money into your marketing. To succeed in retail, you need great marketing in addition to a great book. Don’t leave it up to chance!
Shennandoah Diaz is president of Brass Knuckles Media, an uncensored PR & Marketing firm catering to creatives and the avant garde. Passionate about education, Diaz empowers creatives by sharing articles and teaching workshops on marketing, social media, and publishing. Learn more at www.brassknucklesmedia.com or at www.shennandoahdiaz.com.
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Publishing Options Series: The "Traditional" Route
February 4, 2011
by GreenleafBookGroup
In this series we will address one of the biggest questions facing authors today: how will I publish my book? As little as ten or fifteen years ago, this answer would have been simple: get an agent, who will then pitch the book to major publishers on your behalf. Now, with the wide variety of options available, it can be hard to decide what route to take. This is why, one post at a time, we’ll dissect each of the options in an effort to help authors better answer that question.
Today we’ll begin at the beginning and talk about “traditional” publishing. Rather than dive into a history of publishing, let’s keep it simple: traditional publishing happens when you sell the publication rights of your book for an advance and royalties on the sale of your book. This is generally the type of deal you’ll find at the “Big Six” publishing houses in New York—Penguin, Simon & Schuster, HarperCollins, Random House, Hachette, and Macmillan.
So what does striking a deal with a traditional publisher entail exactly? We thought it might be easiest to break it down into pros and cons.
Pros:
- Credibility. Since traditional publishers have been producing high-quality, salable books for quite some time, authors are afforded automatic credibility just by working with them.
- Distribution. Again, because of their reputation in the business, the Big Six’s wholesale and retail connections are very strong. You can rest assured that they know how to get your book into retail, and your agent can help you sell your translation or foreign rights.
- Low up-front cost. Generally, traditional publishers pay for all aspects of book production (which can be rather expensive), and authors are usually responsible for at least some, if not all, of the marketing and publicity. For someone looking for a lower financial investment, this is one of the cheaper options.
- Quality. Acquisitions editors at traditional publishing houses screen all projects so that the overall quality of the publisher’s line is very high. The production process includes everything from seasoned editors working on the book to dazzling design and printing.
Cons:
- Lack of brand/creative control. As an author, you have little say in the titling, design, printing, or editing of your book. This may be an issue if your brand is tied to your book.
- Low royalties and advances. First-time author advances can range from $2,000 to $20,000, which you have to pay off in sales before you start receiving royalties. Royalties for paperback are typically five to seven percent, and ten to fifteen percent for hardcover. You’ll also need to account for paying a portion of your advance and royalties to your agent, usually around ten to fifteen percent.
- Slow time-to-market. Unfortunately it can take anywhere from two to three years to secure an agent, get a publisher, and actually have your book published and released.
- Ownership. Under the traditional model, authors sell the right to publish their work for a defined period of time. Selling the publication rights gives them little say in the direction, distribution, or amount of time their book spends in the market. If for any reason the author is dissatisfied, they must either buy back their rights before the agreement ends or wait for the book to go out of print (at which time rights revert back to them) before they can take it elsewhere.
How do you get the ball rolling if you think you’d like to go with a traditional publisher? Get an agent! Traditional publishers rarely accept proposals directly from the author, so you’ll need to find an agent to represent you. Here are a few resources:
- Check out the Association of Author Representatives (AAR). Members follow an ethical code, so any agent who asks for a reading fee or money up front is not included in this organization.
- Also take a peek at the Guide to Literary Agents (GLA), available in both book and blog formats, sponsored by Writer’s Digest. The blog discusses the types of work the agent represents and their submission guidelines. You can search by genre to locate agents who will represent your work.
So does traditional publishing make sense for you? If the pros mentioned above sound like what you want and you can live with the cons, perhaps it is. If what you want doesn’t quite fit what this model offers, stay tuned for future installments of the series on publishing. In coming weeks, we’ll be covering new technology, vanity presses, independent publishers, and self-publishers.
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Writer Beware: How to Avoid Scammers, Spammers, and Snakes!
January 20, 2011
by Shennandoah Diaz
It’s an unfortunate reality that writers are often targeted by scammers and other creeps. They come at us from all directions, finding us at conferences, slithering through our emails, and sneaking into our social media feed. As a writer you need to protect yourself.
Education is your best weapon.
It’s so important that you constantly educate yourself on the industry, who the players are, and what scams are currently in play, and this blog attempts to be part of that education process. With that in mind here are a couple of scams and traps that are popular now, followed by a few more tips to help you protect yourself (and your wallet).
Scam 1: Twitter Spam
Even after a mass outcry by the writing and publishing community, Twitter spam targeting writers still runs rampant. Tweets saying “Writers needed” or “Get Paid to Write” appear with a hyperlink to a shady website. Twitter does a great job of taking them down once you report them. Should you get this kind of spam, report it immediately to twitter by following their reporting guidelines.
Scam 2: Fake Publishers
Another thing you need to watch out for are “publishers” who send you an email, tweet, or mail advertisement saying they are looking for writers. These publishers convince writers to spend thousands of dollars to produce poor quality books that will never see a bookstore shelf. Not all “pay to play” publishers are scammers though. You can pay to be published by a credible indie house--just take note of the quality of the books, the number of awards they have won, and whether or not their titles are distributed to retail chains. Before you fork over the dough, look for the following things:
- What is the publisher’s reputation like within the industry? Look at what places like Writers Digest, Writer Beware, Galley Cat, and Publishers Weekly say about them.
- Do they belong to any reputable organizations? There are several organizations for publishers to join including SPAN, SPAWN, and IBPA.
- What does their author roster look like? You should be looking at a publisher who represents your genre, and thus you should recognize the names of the authors or the titles of their books.
- What does their distribution and marketing package look like? This is especially important if you’re goal is to see your book in Barnes & Noble. You need to make sure that the publisher has a reputable distributor with a history of getting books into retail chains. There are many vanity presses whose books would never make it into B&N because the quality of design and editorial is poor and because the design does not include key elements such as a standard trim size, ISBN, and title on the spine. You also want a publisher who will at the very least market your book to the trade through Shelf Talker, Library Journal, Ingram and other outlets.
Scam 3: Fake Editors/Book Doctors
Writing is a laborious process, and if you find yourself piling up rejection letters you may consider hiring an editor or book doctor to help you. Of course, that has opened up another realm for unqualified “professionals” to siphon money and energy from aspiring writers. When looking for a professional to help you with your book, you need to ask the following questions:
- Do they have a relevant degree? Editing is a specialized field. As such the editor should have a degree in journalism, English, literature or some variation of those.
- Do they have experience in the publishing industry? Freelance editors should pay their dues and get real world experience before soliciting writers. How can they know what publishers want and what sells if they haven’t ever worked in the industry?
- Do they have references? You should be able to talk to past clients to see how their working relationship is and what effect their guidance had on the writer’s project.
A real editor also will NEVER guarantee that you will get published or that our book will be a bestseller. There are so many factors affecting both that it is impossible to make such guarantees. Anyone who says they can is playing with you. Run away!
Of course, as fast as we identify scams a new one pops up. Here are a few more tips to help you protect yourself:
- Always get the opinion of a lawyer before you sign any contract. There are plenty of law offices that offer low, flat-fee contract evaluations. Yes you may have to spend a little money but its much better than getting your bank account and your favorite project tied up with a dirty deal.
- Get connected! Networking with other writers is a great way not only to find out about current scams, but to get referrals for quality products and services.
- Take a class (or twenty). Writer’s Leagues, Writer’s Digest, Media Bistro, and other outlets offer reputable classes on many aspects of writing and publishing. Arm yourself with first-hand knowledge from industry pros.
Above all, follow your gut. If something feels off it probably is. If it sounds too good to be true, it most likely is not true. If you’re not sure, get a second opinion, but never rush into anything. It’s your money and your creative future on the line.
Shennandoah Diaz is the President of Brass Knuckles Media, an uncensored PR & Marketing firm catering to creatives and the avant garde. Passionate about education, Diaz empowers creatives by sharing articles and teaching workshops on marketing, social media, and publishing. Learn more at www.brassknucklesmedia.com or at www.shennandoahdiaz.com.
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Paperback Versus Hardcover: How Should You Print Your Book?
January 17, 2011
by Katie Steigman
If you’re taking the reins on how your book is being printed, you’ve probably already come to face-to-face with the many available options. We’ve talked before on the Big Bad Book Blog about print-on-demand versus traditional printing, but we thought it might also be helpful to discuss binding style. Paperback, hardcover, mass market—everyone has seen these formats in bookstores, but how do you decide which is right for your book?
Let’s start by clarifying a few terms:
Paperback (also called soft cover or perfect-bound) books usually have a cover made from paperboard or a very thick stock, and the pages are attached to the binding with glue. When we talk about paperback books, we typically mean trade paperbacks, which are the typical 6 x 9 or 5.5 x 8.5–sized books you see in bookstores. Mass-market is a type of paperback you often see used for romance novels or thrillers. Mass-market books are usually smaller in trim size and fatter with a thinner, lower-quality stock and cover.
Hardcover (also called casebound or hardbound) books have covers that are sturdier, usually made from thick cardboard wrapped in cloth. Here the pages can be glued or sewn into the spine, making the spine more flexible so that the book can lay flat when opened. The book title and author's name are often stamped onto the cloth binding, and hardcover books typically come with printed dust jacket with artwork.
So if you’re making arrangements to have your book printed, how do you decide which format is best for your book? Here are the three main determiners.
Cost to Consumer
The retail price a consumer will pay for a book is largely dictated by the format, and retail buyers have strict guidelines about how a book can be priced. A paperback book is often significantly cheaper than a hardcover book (for more on price, see this post). Because hardcover is more expensive to the consumer, you could encounter readers who just don’t want to pay $21.95 for a book they could otherwise get in paperback for at $16.95. This bears repeating—if you print in hardcover and subsequently price your book higher, you risk losing sales because of the high price point. This consumer choice in price is also important considering the rise in ebook sales, which cannibalized hardcover sales in the last quarter of 2010, according to Bowker. That said, there are many reasons a consumer might prefer a hardcover book, including durability, style, and longevity.
Genre
Genre is one of the biggest indicators for format. Books that can be found in hardcover are frequently in the genres of business, coffee table/art, first-edition fiction, or collector’s editions of classics. Traditionally, fiction comes out first in hardcover and later in paperback. This is changing due to the economic climate, and to stay competitive many fiction titles, especially from newer authors, are coming out in paperback to entice readers with a lower price point. Penguin recently released a beautiful set of hardcover editions for people looking for that classic aesthetic that only hardcover brings. Topics with rapidly changing information, like health, technology, science, and politics, are usually released in paperback (or ebook) formats, so that new editions can be released and consumed more quickly. Of course, these are broad generalizations meant to provide a little guidance, and doing research on comparable titles can help inform your decision on the proper binding for your book.
Printing Cost
Printing hardcover is more expensive than printing paperback, so if you’re on a tight budget, you might get more books for your buck by printing paperback. The margins for hardcover books are usually better than for paperbacks because the cost to consumers is significantly higher than the cost difference in printing—it only costs a little more to print hardcover than paperback and you can charge a lot more in retail. If you do have a strong platform or fan base, or if you have direct sales opportunities, hardcover may be a good way to go. Your clients and fans may be more likely to buy your book even at the higher price point that hardcover commands since they are already interested in your content.
Other Considerations...
One other point to consider is the sale of paperback rights. If your goal is to be picked up by a traditional publisher, you may want to release first in hardcover (again, depending on the genre). If your hardcover sales catch a traditional publisher’s eye, they may inquire about the rights to your paperback version. It doesn’t really work the other way around, though, so if this is important to you, hardcover may be a good choice.
There is no magic formula for deciding what format to print your book in, and there are a lot of factors to consider. The first step is establishing what your price point will be for any format you are considering. Making sure you have an appropriate price point is imperative for accurately running the numbers on your margins. Once you have looked at printing cost versus retail cost, taking a close look at your genre and comparable titles is a good next step to making a decision on format.
Have Questions? Thoughts? Let us know!
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