#Publishing Industry

[spaceshipkat]

hmm yeah not surprised in the slightest (please note: this is not the fault of the editors. they're overworked and underpaid. it's the fault of the heads of tradpub deciding to maximize quantity over quality, time and time again.)

[redgoldsparks]

I added my name to the KidLit for a Ceasefire letter. If you are an author or illustrator of books for children, middle grade, or young adult readers, or if you are an editor or agent working with those books, or in some other way affiliated with the publishing industry and would like to add your name to the letter, it is open for more signatures until EOD January 28 2024. Then it will be sent to President Biden online and via snail mail. It will also be sent to select Congress members and media.

[thetransfemininereview]

Do you have any recommendations for gaining access to these books? I have a pretty long list of ones I want to read but can't afford most of them. The library has the big ones (Whipping Girl, Detransition Baby, Nevada) but the newer or less well known ones have been difficult to find

No this is actually so real though. Let's talk about it.

One of the big problems that I'm trying to address here is the fact that there is a lack of ability for trans books to reach their perhaps core audience, trans people. Over the last few years trans librarians have been trying to increase the number of trans books in circulation, but that's super contingent on where you live. Not to mention the fact that, at least in the US, states are actively trying to criminalize circulating trans books in libraries.

I know Tumblr is allergic to economics a lot of the time, but you've gotta look at the math to understand why this is the current state of things. Essentially it's a vicious cycle. Lots of trans people can't afford to buy a $25 hardcover on a whim, and traditional publishers put a lot of stock into how well a book performs on release, cause that's how they make money. So when the core audience can't afford it and isn't marketable, they register that as a lower demand, which means that fewer trans books get published, fewer end up in libraries, and the cost of an individual book is driven higher. Low demand, high price. Then because the price is high, trans people cant afford the books, and the cycle continues.

It is the dilemma of the transfemme author that most of their core audience is also gonna be transfemme. It's a self-selecting process that's very hard to break out of. And at the end of the day, there just isn't very much money to go around in the trans community because trans people so frequently get cut off from generational wealth. So when you get an ecosystem of transfemmes selling books to other transfemmes who also sell books to them....

I took a class on the Sociology of Art a few years ago, and one of my core takeaways was that the boundaries of a field (yes my teacher liked Bourdieu, come for her ass, not mine) are fundamentally governed by institutions and entities with the money and power to dictate their rules of play. In Althusser's language, you would call those ISAs (Ideological State Apparatuses). When you read Weber, he talks about how culture needs to have some level of social legitimation in order to become a force of power in the world (I butchered that but it's the gist lol). And it's like.

The people who have the money to read the books dictate which books receive the money. Organizations like Lambda Literary, presses, big name publishers, etc. One of the big problems in the field of trans literature up to this point is that the only people who've had the money to produce social legitimation from the organizing schema/matrix of an ISA have also only chosen to read a very small slice of the extant literature. Then, because those non-profits and presses and companies only champion a small selection of books, that in turn dictates for those who have less money which of those books deserve social attention, critical acclaim, sales, library slots, etc.

And like, all of that is an illusion, but it produces a material reality for the transfemme author. It dictates the material conditions for the reproduction of said literature and who can participate in it.

So, what's to be done about it?

"Buzz" is a big deal in the publishing industry. A good review, an award, a thinkpiece - all of that can be the difference between a successful book and a flop. Publishers look for that. If nobody talks about a book and it doesn't sell well, they'll drop the author faster than you can say Susan. Again, vicious cycle. But like, at the end of the day, a "field," an "ISA," a "legitimated" work of art, that's all just a class prerogative. The different between a Very Important Literary Blog and a "person talking about books on the internet" is money. Like. It's just money. The reality of it is really banal.

It's who has the money to read books. It's who has the money and time to write about books. It's who has the money to gain institutional access to book. It's who has the money to read enough to say, "Oh, well that might seem true, but if you look at X, Y, and Z it's clearly not." It takes money to fact check. It takes money to challenge institutional myths. It takes money because when an institution makes a claim about a book and none of the people who care enough to argue with them have the cash to challenge it, the claim tends to stand.

And like, the honest truth is that between the books, the website, and the education, I've spent a lot of money bringing this website online in the form you're reading it in. A lot of the books I've read were really fucking expensive. I grew up in a wealthy family, my parents were accepting. They have both the means and the desire to support my passion projects. I'm lucky.

The goal of The Transfeminine Review is to create at least one independently trans-run website that can challenge that brand of institutional legitimation work from non-profits and big publishers and cis outlets, a website that can actually highlight transfeminine literature as it exists in the world, not as the Big 5 publishers have dictated it. Topside, Metonymy, Arsenal Pulp, LittlePuss, etc. They've all taken on that challenge from the angle of producing books, but there hasn't been a corollary trans secondary ecosystem dedicated to documenting and critiquing them. Or there is, but it's extremely diffuse and hard to find if you don't know exactly what you're looking for. Then there are the general queer outlets, like them. and whatnot, and they do their best but literature is a side hustle at best. There's the queer-helmed literary outlets like Electric Lit (shout out Denne Michele Norris) but they spend most of their time talking about cis authors. None of it is designed to help or review self-published literature from poor authors, and let's be frank, most transfeminine publishing is still done indie or self.

It's an investment, essentially. On the longshot, the hope is that this website will inspire others to do similar work, and that eventually through the collective efforts of trans authors and their readership, we can begin to change the math on trans publishing and help to spread it to a wider audience.

Now.

None of this changes the current reality that trans lit is expensive.

Unless you're lucky, you're probably not gonna find much trans lit at the local library even if you dig for it. Another good place to find free trans books is transreads.org, but their selection is mostly non-fiction, and the fiction is, again, largely the same few books you can find elsewhere. Another good online queer library is https://www.queerliberationlibrary.org/, which might be a good place to look (shoutout to Skye for bringing it to my attention!)

There are a couple of cheaper places to find trans books. If you shop around on itch.io, a lot of self-published trans authors have "name your price" models, which can be more accessible. Creators on itch will also bundle their work on a fairly regular basis, so you can get like 10-20 books for $10, which is, by my token, an excellent price.

If there's a particular author you're interested in, a lot of self-pub trans authors have Patreon accounts where they serialize their novels. You also can find serial (pre-edit) versions of a bunch of books on Scribblehub.

This has gotten steadily less affordable over the last few years cause Amazon is evil, but Kindle Unlimited ($11.99 a month, but there's a free trial) has thousands of trans books. Most of them are erotica, but like, there are a lot of hidden gems in there, and if you're a voracious enough reader, then it'll definitely be much cheaper per book than buying trad.

The problem with all of these, though, is that they tend to favor specific genres and tropes. Like there's only so much variety on itch.io or Scribblehub or transreads.org or KU. So if you like the genre conventions, then awesome! But if you don't it's probably not for you.

And none of it will give you access to some of the rare older tradpub books or the new but scarce releases that I've been going through unless you're willing to pay the full price for them.

I wish I had a better answer, but that's unfortunately the current state of the industry :/

Hopefully this ramble is helpful.

Beth

[vanhelsingapologist]

Publishing has always been a fucking nightmare, but now it’s a layer of hell. It’s not enough that writers be good at what they do. Writers have to maintain an active social media presence and cultivate a following. Be available.

They have to be conventionally attractive enough to look good enough to see on a screen, aesthetically pleasing, kind, funny, up-to-date on trends, socially aware but not so controversial that they turn off a brand from California from slapping their discount code on a video promoting a book.

They have to do all of this with no media training, with little help from the companies that are supposed to be doing this for them.

Of course, a lot of this isn't possible for say, the 40-something mother of two who teaches English at a school and writes on the side. She’s boxed out of an already complex industry that already has enough walls.

On some level, I think authors have always marketed themselves a little, but we’ve reached such a crazy point where we’re demanding the author become the influencer. Accessibility in publishing has narrowed from an inch to a sliver. And that inch was hard enough to get in as is.

[writingwithfolklore]

5 Things about working in a (small) publishing house that surprised me

My experiences definitely aren’t true of the entire industry. I work in a very small, very local publishing house as a marketing assistant, and I’m certain that you’d have a much different experience at Penguin Random House, or even another small house on the other side of the country. That being said, here’s five things that really surprised me about what I’ve seen from the industry so far…

1. Very few of the people who work in publishing are writers

Okay this was one of the biggest surprises but also kind of makes sense? Publishing is a lot about the business side of things—numbers and marketing strategies and event planning, etc. People who are talented in design and accounting and other essential pieces to book publishing aren’t necessarily good at or practiced writers, and not all people who love reading also love writing!

I guess this surprised me so much because I’ve never been a reader without being a writer, but we often actually rely on the author’s writing on their own works (summaries, bios, etc.) to populate the backs of books and other marketing. Including me, there are three writers in my entire office.

2. Big booksellers (think Indigo) release yearly cover palettes for book covers

When we’re deciding the colours for a book cover, one thing that goes into that consideration is actually the different palettes Indigo releases! They have different palettes for different sections they update every year. I imagine it’s to fit a certain look for their shelves for new releases, but it’s not something I had ever really thought about, or thought that they would care about!

3. On that topic—publishing houses don’t sell to readers

My first day in marketing, my manager told me, “you’d think we’re selling to readers” I did think that. She said, “we’re actually selling to bookstores and libraries, they sell to readers.” How the money works is booksellers buy our books to put on their shelf. Everything they don’t sell, they’re allowed to trade back for credit, so we want them to buy big upfront, and then sell big to readers. Every book they send back is inventory we can’t get rid of and a “free” book for them down the line, so we don’t want books to come back!

If you want to support authors and your favourite publishing houses, buy from local bookstores who can’t afford to keep underselling books on their shelves for as long as say Indigo. If you really want to support authors, check out their books from libraries (yes really). Libraries are great because they buy books from publishing houses and can use the same one book to get into the hands of several readers, (in Canada) authors get a small amount every time a book is checked out (up to a certain amount so that the library’s entire budget doesn’t go to one book/author). Often, an author’s largest cheque is from libraries.

Unfortunately in the States authors don’t get the same boon, but still supporting your local libraries is just as good as supporting your local indie bookstores!

4. Soo many people look at covers, and soo much goes into creating them

I’m not really a designer, so I’m certain this wouldn’t surprise those of you who actually do graphic design, but they seriously look at every single detail and how it will benefit or hurt the sales. The placement of blurbs, choice of fonts, colours, subtitles, even the placement of raindrops for a rainy background, everything is discussed and tested and tried several different ways. So yes, DO judge a book by its cover, we work so hard on making covers perfect for the audience we’re trying to reach.

5. Publishing houses don’t necessarily have in-house editors, publicity, or other roles

I had always assumed that every publishing house had its own editors and publicists and what not. That’s probably true for the bigger ones, but if you’re being published by a smaller one (which you may be for your debut) you may be working with freelance editors and publicists who work somewhat with your publishing house and also with others as well. We have one in-house publicist, and no editors!

I wouldn’t turn down a publishing house just because they use freelancers (our freelancers are amazing!) but it’s important that they’re upfront about it. Huge red flag if they say they have in-house editors and they don’t actually—I would pass on a publishing house that lies to you.

Any other questions you have about the industry I’ll try to answer!

[tgsparks]

SELF PUBLISHED AND SMALL PRESS AUTHORS: CHECK YOUR AMAZON PAGES

Recently I found out that my book was just gone. Completely wiped from Amazon. My author page said I never published anything. I got word from my publisher that this was a glitch with Amazon and they were working on fixing it. That was three days ago, and my book is not back up.

According to my publisher, small presses (between 200 to 1000 books) randomly had several titles “dropped” from Amazon.

My worry is that this may have also affected self published books that are only sold through Amazon. Please go check and make sure your work is still up. Even if just to make sure.

[panimoonchild]

Russian culture is great just because they constantly erase literature and kill artists from the country that russians want to conquer

This photo speaks volumes 💔😭

Today, the Russians struck one of the largest printing complexes in Europe, the Factor-Druk in Kharkiv. "Kharkiv used to be the center of book publishing in Ukraine and remains so even under constant shelling. Every third book published in the country is printed by Factor-Druk," wrote the Sense bookstore chain. "This is one of the largest full-cycle printing complexes in Europe, so books from almost all Ukrainian publishers are printed there," Vivat Publishing House reported. ❗Since the beginning of the year, more than 700 libraries have been destroyed or vandalized in Ukraine.

[isaacsapphire]

Banned books

The perennial topic, the regularly scheduled table of "banned books" at Borders and the public library.

The people who tell you that censorship is just sparkling repression unless it's done by a government tell you that a book is "banned" because one parent in Bumfuq, Kansas (population: 2436 if we count the prison) said they didn't want their 8 year old to be required to read it for a class they are legally required to attend, regardless of if this parent's objections were obeyed.

Meanwhile, what's not on the "banned books" table, because it isn't being printed (anymore), got "weeded" from the library, or otherwise isn't in the building because it don't fit the sociopolitical ideology of the people who assemble those displays?

Salman Rushdie books aside, has anything on that table ever been repressed by a government?

[fansplaining]

Episode 218: The Money Question 3: Books???

Following previous installments on the thorny intersections of money and fanfiction, Episode 218, “The Money Question 3: Books???” tackles the recent debacle around people illegally selling bound copies of others’ fic, which has mostly centered on mega-popular Dramione works. Jumping off from Elizabeth’s WIRED article on the subject—which ties the practice to the current pull-to-publish wave as well as the Twilight fan-run presses of the early 2010s—Elizabeth and Flourish discuss the context collapse when a fic “breaches containment,” double standards in attitudes towards money and various fan practices, and, for likely the 1,000th time on this podcast, what exactly “fair use” means. 

Click through to our site to listen or read a full transcript!

[curiouscatalog]

From: Sumner, James and Wolfe, Richard J. The Mysterious Marbler. North Hills, Pa. : Bird & Bull Press, 1976.

Z271.3.M37 S86 1976

[feline17ff]

Free Palestine 🇵🇸🍉

RAISE YOUR VOICE & RB!

____________________________

How to Take Action:

Non-monetary:

INCREDIBLE NEWS FOR USAMERICANS!!!!!!!

Click for UNRWA

Palestine Child Identification Form

Find ways to disrupt under step #3 in this toolkit: bit.ly/StopGazaGenocide

Protest: Find a protest near you at uscpr.org/protests.

Adalah Justice Project: adalahjusticeproject.org

Palestine Writes Literature Festival: palestinewrites.org

Contact your elected representatives to demand a #CeasefireNOW.

Call Congress: uscpr.org/StopArmingIsrael

Email Congress: uscpr.org/GazaEmail

Watch the hearing where Biden was charged with Genocide: bit.ly/PalestinevBiden

Plan an action: https://actionnetwork.org/forms/biden-got-sued-national-day-of-action-for-permanent-ceasefire-now/

Support BDS. Boycott, divestment, and sanctions are tactics to support Palestinian rights by raising economic pressure on Israel and complicit entities.

See the BDS list: https://bdsmovement.net/Act-Now-Against-These-Companies-Profiting-From-Genocide

Support the #SpeakUpSMP influencer boycott of St. Martin’s Press: r4a.carrd.co

Support Palestinian authors, illustrators, and publishers.

Monetary assistance:

Palestine Children’s Relief Fund: pcrf.net

Donate to Care For Gaza: https://twitter.com/CareForGaza

Donate eSIMS. While Israel has blocked telecommunications, eSIMS are the only way Palestinians in Gaza can communicate.

Support Books for Palestine. Buy books through the Books for Palestine bookshop, and consider donating to the three organizations Books for Palestine has been fundraising for.

Books for Palestine bookshop: bookshop.org/shop/booksforpalestine

UNRWA

[b-a-pigeon]

(source)

[barbwritesstuff]

I really enjoyed Crying Wolf (after about one page of being a bit scared cause the words "prison" and "romance" used together can be really...not good in the hands of other people lol) so i'll be buying any book you were to publish. :D

Okay.

Story time.

Perhaps also rant time.

I don't know. We'll see where this takes us.

For those that don't know, Crying Wolf is a novel I wrote that was published in 2021. It's about twin brothers who get sent to prison for a crime only one of them committed. They're also werewolves.

You can buy it here if you're interested.

Now for the drama.

Crying Wolf is not a romance. At least, I never intended it to be a romance when I wrote it. It was inspired by the Australian TV show Wentworth (which is a prison drama) and me wanting to explore werewolves in a world where their existence is not secret.

But, peeling back another layer, it was really about me missing my sibling who I'd previously been very close to who suddenly moved to the other side of the planet, and processing some feelings I had about being in intimidating environments.

Ali's romance with Morgan was not nearly as explicit or important to the story in the first draft, and Amir's relationship with Ben was much more queer platonic.

But, I was told very unambiguously by several people, that I needed to increase the romantic elements. A lot of early readers felt the drama between the brothers wasn't enough to hold their interest.

Which is fair enough. I made the romances a bigger part of the story, but they still aren't the story. The story is still the brothers surviving a very dangerous environment while learning to let each other go.

It was, even then, still not a romance.

I never once tried to sell it to publishers as a romance. I always said it was a family drama. I distinctly remember making a point about this because I didn't want publishers to be disappointed.

But family dramas set in prisons which also happen to be full of werewolves isn't really a marketable category. Gay paranormal prison romance is.

I think this is was even more true back in 2018 when I signed Crying Wolf's publishing contract.

I noticed during the editing process that my editors really wanted to increase the romantic elements of the story even more, but that didn't really bother me. I don't think I 100% realised they intended to market it as a romance until later.

And I don't hate that. I guess I can see why they did it. And, with the edits, there is very much a romantic feel to it now. But, I still don't think it fits well within the category.

The literal climax of the story is about the brothers calling out to each other and giving each other strength from a distance, even if they can't be together in person. It's not about the kissing.

I don't know how readers feel, but that's how I feel. Especially considering how dark prison romances can be, I just don't think it fits the label.

Ultimately, Crying Wolf did not sell very well. Sure, there are a few hundred copies floating around out there, but it doesn't pay any bills. A part of that, I think, is it came out at a weird time in a weird market. COVID changed a lot of things. However, I also think some people picked it up thinking it was a dark romance and were disappointed... while others who may have liked it didn't buy it because they thought it was a dark romance.

Or maybe it just isn't the sort of thing a ton of people would be interested in. I dunno.

I still really like it. I think I did a good job writing it and reread parts of it from time to time. But, personally, for me, it isn't a romance.

It's about twin werewolf brothers being bad at emotions in a very fucked up situation.

Anyway, I'm really glad you enjoyed it, and would buy other things I publish. I hope you'll get that opportunity and I hope this sort of cleared up the marketing weirdness with Crying Wolf. 💙

[writingwithfolklore]

5 Ways to Set Yourself Up For Success as an Aspiring Author

While these things don’t guarantee your manuscript will be picked up or that you’ll sell more books (and aren’t necessary to achieve that!) here are five things that publishing houses look for in authors to help make the book as successful as it can be, and you can start working on now.

1. Get an agent

I can’t say this is true across every publishing house, but in my small publishing house that accepts submissions from both agented and non-agented writers, we move the agented writers to the top of the manuscript pile. This is because they already have a professional in the industry who has vouched for the work.

However!! Important to note that a bad agent can tank your chances as much as a good one can raise them. I had a coworker say about a particular agent, “if I was on the fence about a manuscript and saw (the agent) was representing it, I would move it to the pass pile.” The agent was in general difficult to work with and didn’t actually listen to what her writer wanted, demanding for the house to make poor marketing decisions for the book based on her own personal opinion on what looked good. Oh, and she had also worked in publishing for Penguin Random House for over a decade, so what previous experience they have in the publishing world isn’t all you should consider when reaching out to agents. You want people with lots of experience actually—y’know—agenting.

Check out their previous clients and how many they have! Yes, small agents with only a few years of experience can still be amazing—but make sure you do your research no matter how experienced they seem and see if you can’t do a background check. (The agent mentioned above ended up firing her author! I’m sure the author has tales to tell about her).

2. Come up with marketing ideas

Your publicist is going to do so, so much work for you. Seriously, we have some really awesome publicists who are kicking ass submitting to contests and putting on events and sending authors on tour—but they’re also managing several titles at once, so authors who can pull their own weight a bit when it comes to coming up with marketing ideas for their book are highly appreciated.

If you ever have any ideas on how to reach your specific audience, write them down and try to fill them out with as many details as possible (who is involved, where will it happen, how will it happen, how much funding it requires etc.) and share them with your publicist, the marketing team will thank you for it!

3. Form relationships with the industry!

This one is huge! One thing we actually ask of authors right off the bat is if they know any industry contacts such as booksellers, media contacts, or other professionals/authors. If you can, intern/volunteer/or work for a newspaper, magazine, book store, agency, or anything similar. Having a list of people who know and like you to reach out to for writing articles or otherwise supporting your release is going to help a lot with the promotion and selling of the book! People are much more likely to help out or feature the book of someone they know, rather than a stranger, so start collecting your contacts now.

4. Grow some sort of social media following

Definitely not essential, but seen as a boon for sure if writers already have a community that are likely to support their new release. If you can point to a group of people that already like you or are interested in your work, we’re going to see that as an asset! Especially for book launches—there’s no greater publisher’s fear than a tanking book launch, and it’s so much more likely to go well if you have a community of people you know will show up.

5. Trust your publishing house

You’d be surprised how many authors drag their heels and kick and scream when it comes to the marketing decisions our team makes. While yes, a cover you aren’t necessarily thrilled about, or author bio that sounds a little too self-aggrandizing can suck a bit, know that these decisions are coming from people who have decades of experience in the industry and know how to get your book into the hands of readers. If they think a certain cover, title, subtitle, bio, photo, layout, etc. etc. would be best for your book, trust them. They’re the pros.

I’m happy to answer any other questions you have about the publishing world!

[at-thezenith]

acquiring a manuscript - the agent and editor

hello, it's me, your favourite publishing student. let's talk acquisition.

so you've managed to secure an agent with your manuscript. then what?

most agents will do a developmental edit on first deciding to work with you. plot, character, pace, continuity and worldbuilding all come under this. what makes a good agent (and editor) is whether they are offering you suggestions on what to do instead of outright rewriting your work.

once you've made those changes (or gone back and forth depending on how much you do or don't want to make that change), your agent will send your manuscript to editors in publishing houses.

a key question on their mind is: can i sell this book? agents (and editors, but i'm getting to that) look at a book's merit, and they look at what they can compare it to. you need some sort of USP (unique selling point)

is it pride and prejudice but trans? most ardently by gabe cole novoa. is it black mirror in south east asia? red dust , white snow by pan huiting. (highly rec both, btw)

key note here - if you are submitting to a publishing house that accepts unsolicited manuscripts, you will skip straight to this next step.

your manuscript will land on an editor's desk, along with the pitch your agent has given them, usually tailored to that editor's or that house's tastes. in a big house, that editor will usually pass that manuscript to an assistant, to do a reader's report, in which the assistant will sum up the plot, point out strengths and weaknesses, and most importantly, tell them whether it is worth publishing. some manuscripts don't make it past this step, and in that case, the agent will send it to another house.

if the editor likes the sound of this manuscript, they will then read it. usually, they will read it three times: one for first glance edits, two for developmental edits, and three for line edits (line by line, spelling/grammar, vocabulary, etc). once this is done, they will tell the agent that they plan to put their house in the running for acquisition. then comes the acquisition meeting.

the acquisition meeting is where your editor will fight to get the publishing house on board with your book. remember that USP? here's where that comes into play. your editor needs, above all else, to get sales and marketing on board. how can i sell this book? editors often ask other members of the meeting to read the book beforehand to have some support, and to point to the book's readability.

the literary qualities of the book certainly come into play, but what sales and marketing want to hear is how your book is both familiar and new. so your editor will construct a pitch that both highlights the excitement of your book, but also point to previous successes with books like yours. i know that comparing books to other books is tedious, but sales are notoriously pessimistic. they control the money, after all.

but your book makes it through the meeting, and you have the whole team on board. now comes the editorial letter. this is where the editor is going to do their best to sweet talk you (and your agent) into accepting their offer of publishing your book. however, they will both gush about your work, and tell you the edits they want you to make to it, from the big developmental changes all the way down to the way a character moves in a scene. don't be discouraged if the list of changes is long; if the editor didn't want to publish the book, it wouldn't have made it past their assistant.

this of course is assuming you decide to accept their offer immediately. you could have offers from other houses, and in that case you usually won't receive the editorial letter - or at least, not in such great depth - until you have signed a contract with the house of your choice. that is more complicated.

hope you found this useful! my dms are open if anyone has any questions :)