Rick Frishman’s Blog

Publishing—the New York version—has been around for 75 plus years. Also known as the Depression Model, here’s what it looks like:
IF THE BOOKSTORE SELLS THEM - THE PUBLISHING HOUSE GET PAID MONEY IF THE BOOKSTORE DOESN’T SELL THEM- THEY CAN RETURN ALL THE BOOKS
IF IS OK TO HOLD THE BOOKS FOR SEVERAL MONTHS AND THEN SEND
Archaic? You bet. And still, the vast majority of New York houses embrace the model; and authors scramble to enter into these medieval contracts for the “prestige” of being “under contract.”
Authors literally give their rights and souls away for the “honor” of being published by a “real” publisher. Here’s the truth: it’s very, very difficult to get a deal that has any bones to it today. For every Tim Ferris breakout (The Four-Hour Work Week), there are 10,000 wannabes that have books fall on their written faces. Unless you, dear author, land in the top five percent, your big time publishing experience will most likely be one big time let down, sucking wind. Deals are hard to come by; every major publisher is downsizing and editors are downright fearful.
We suggest you breathe deeply and consider your options. The New Big Four Is there hope? Is there an out? Could there be a better way to get published? Absolutely, and we are here to show you why and how. More and more authors are opting to go solo, creating their own publishing houses. Why—simply this: It’s about quality; it’s about timing; it’s about control; and it’s about money.

The quality of the books published by mainstream publishers has changed. Paper is thinner; interior designs are iffy; and editing is so-so. The reality is, today’s savvy author can create a better product, make money, and have a good time in the process. And not gasp for air.
Authors want input on how their books look and what they say. With a traditional publisher, cherished titles morph; and decisions about how the book will “look” are made without the authors input or OK. Control flies out the window. Messages and timing are always critical—unless a book has been “fast- tracked” by a publishing house … meaning it’s being pushed to get out What’s What in Publishing Today …
within a few months—expect a book to be published 18 months after it’s accepted by the publisher. Eighteen months is a long time—when you want your message out now. Your hot idea could be obsolete by the time your printed word appears. Here today, gone tomorrow.
Finally, the money issue can be shocking. Traditional publishers pay between 10 and 15 percent royalties on the net or retail price of the book— it’s all in the contract—contracts after the year 2000, leaned toward the net number. Why is that important? Simply this—the average non-fiction book sells less than 6,500 copies. At the end of 2009, reports coming from New York indicated that overall sales for mid-list books (not the Jim Collins, Tim Ferris type of books) were in the 3,000 to 4,000 range. This won’t seed your retirement nest egg.
Indeed. The old days, are, well, old. Dinosaurian. The new model of author, as publisher, has birthed. And we think it’s a very, very good thing.

Here is a Sunday “Rick Tip” for you

http://youtu.be/LM7oet21k8k

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I hope you enjoy.

From the vanity presentation that could never find its way to a shelf in a bookstore (most likely a LuLu type of book) to a slick presentation that a buyer at first glance assumes is from a traditional publisher, the self and independently published books from small presses have prospered.

What’s What in Publishing Today …
Self-publishers range from those who only envision selling a few books to those who sell thousands of them. Many New York Times bestsellers began their publishing journeys via the self-publishing route. The usual
reason is that they couldn’t get a publisher to pick it up and/ or get an agent to become their champion, thus never getting it to a publisher’s doorstep.
Self-publishing’s Hall of Fame includes mega seller John Grisham. His first book, A Time to Kill, started out published by the author after multiple rejection notices and was later sold to Fleming H. Revell for a few thousand dollars. Revell in turn sold it for over a million dollars for much needed cash.
Management guru Tom Peters rolled out In Search of Excellence in self- published format before it was bought by New York; and Ken Blanchard started his One-Minute series from the kitchen table as did What Color is Your Parachute? author, Richard Nelson Bolles. Betty J. Eadie birthed Embraced by the Light on the self-publishing route along with Sandra Haldeman Martz with her When I Am an Old Woman, I Shall Wear Purple and Richard Evans with his The Christmas Box.
Then, there are a couple of reference gems that started the self- publishing route. Consider Robert’s Rules of Order by Henry Martyn Robert and the all-time classic, The Elements of Style, by William Strunk, Jr. and EB White. To date, over 10 million copies of those tomes have been sold.
All were rejected by traditional publishing the first go around. The authors had their vision and did it themselves. By the time New York came to the party, the checks written were quite hefty.
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There is a difference between self-publishing and independent publishing. Most people put the two in the same pot. Don’t. Self-publishing is certainly on your own. So is independent. Within the self-publishing category is what we call the “hobbyist” or “casual” publisher. Making money isn’t the key factor. Just having a book is. Most self- published books look, well, self-published. Money isn’t dedicated to quality, although the content may be good. If you plan on selling fewer than 300 copies, this is a reasonable route to take.
MORE TIPS AT http://www.rickfrishman.com