editorial

Independent Publishing

Genre & Press Identities, Publishing Departments
indie-meme-265x300 - BandWagon Magazine

Because independent publishers aren’t often comprised of different departments, it’s important to have a multitude of skills under your belt.

The Editorial Aspect

Independent publishers are still publishers at the end of the day, not much is too different in an editorial sense. One of the best things about independent publishing is that there’s less of a bureaucratic process in selecting manuscripts. That’s how indie publishers often have noticeably distinct brands or motifs in the literature they publish. This also ties into the marketing aspect; boutique publishing makes it easier to know what to expect from them. Indie publishing allows for people to publish things that they want to read, instead of  chasing the next bestseller. It’s not to say that indie publishers don’t think of books in terms of their marketability, it’s just that there’s more freedom to select books whose attractiveness don’t solely come from their potential to  sell.

Financial and Sales

Along with all of those editorial skills, you have to maintain the financial aspect of the business as well. So far in my experience as an intern, I’ve written up invoices, royalty statements, and applied for a grant. There’s no passing the work off to a department full of business savvy people who’re comfortable looking at numbers all day—on a team of less than ten people (dare I say even one or two people), it’s imperative to know where money’s coming from and going to. 

Funding

Grants grants grants! There are a multitude of grants that will fund your artistic projects. I once watched a seminar on applying for grants and learned that there are so many out there—too many to feel like there’s a lack of funding for your publishing house. I also learned that the grant application process is also super competitive so it’s best to apply to as many as you possibly can. 

The best way I could describe the grant application process is that it’s somewhat similar to the college application process. You have to sell yourself to your potential patrons; you have to make the goals of your project clear and how you’d allocate the funds you’d be provided to accomplish those goals, you must also explain why you need their particular funding and convey how your goals overlap with the grantor’s, and you have to describe why the project you’re pursuing is necessary and relevant. 

You can also be funded after a project; some grants are there to reimburse your business expenses in a given time period. It’s critical to keep track of all your business transactions: marketing and public relations, book cover design, warehouse space, etc,. 

As an indie publisher, there are times of outsourcing help, like getting PR people to track the amount of times that a book is mentioned in publications, or working closely with certain graphic designers and artists to dream up the ideal cover image. You don’t have to be superhuman to run a publishing house. Part of the job is knowing where to get help from.

Sales

Book transactions are in a unique place right now, putting indie publishers and indie bookstores in one of the most unique positions of all. It’s hard to be in the publishing industry and avoid the power and influence of that one bookseller. We all know I’m referring to Amazon, right? If a book isn’t available on Amazon, it might as well not exist because Amazon’s share of the print book market is at least 40%. So a large part of the sales tasks at an indie publisher is maintaining the Amazon listings for books: making sure that the information is accurate and up to date with any prizes and acknowledgements or creating engaging Amazon A+ Content that would entice readers to purchase the book. As the old saying goes: if you can’t beat ‘em, join ‘em.

However, there are a lot of readers that are anti-Amazon and are looking for more ways to buy books without contributing to their monopolization of the market. So maintaining the book listings on the publisher’s own website so that transactions can happen directly through that portal is another valid approach. Bookshop is another slightly more ethical way for consumers to buy books online–in case they’re consciously avoiding the Monopolous Big A. Bookshop directly platforms local bookstores and independent publishers, making it easier to buy books from them. Publishers and bookstores are able to have pages on Bookshop and create cool booklists, which are similar to playlists, making it easier to engage with and shop. From a publishing perspective, Bookshop has been incredibly useful and super easy to navigate.

Marketing

As I’ve mentioned before, indie presses tend to have a potent personality or style associated with their brands, compared to big publishers that make it a goal to publish everything under the sun. So marketing is absolutely crucial in the case of independent publishing. I would say that social media is the absolute best way to market for all publishers, big and small. With BookTube, Bookstagram, and now the tidal wave that is BookTok, it’s evident that readers are influencing other like minded readers on what the hottest books are. Social media is a more personable and intimate aspect of marketing and it gives indie presses an edge to relate with readers in a way that big presses can’t. From a consumer perspective, if I saw a video of HarperCollins employees doing a TikTok dance while holding one of their bestsellers, I’d roll my eyes and keep scrolling. Consumers are smart—when we see a recognizable name trying to present as relatable, it feels disingenuous. However, the “indie” aspect of independent presses contributes to their marketability. People want to feel like they’re supporting passionate and ethically-sourced art.

It also doesn’t take a lot to market on social media, it’s very inexpensive and fast. If you are in a crunch for visuals for an Instagram story or a tweet, you can easily hop on Canva and experiment with templates to create something that looks much more professional and time consuming than it actually was.

Another aspect of marketing is applying your books for book prizes and attending book festivals to generate buzz across the reading community.

Organization and Time Management

It takes a multitude of skills to complete the jobs of various departments as one person. Organizational skills are an absolute must when it comes to boutique publishing.  You have to track your shipments, your sales, your royalties, your inventory, your everything. The work becomes meticulous when these responsibilities are not broken up between people. It’s a lot to stay on top of so you have to be the kind of person that’s willing to manage it all.

However, I think that the very hard work that comes with indie publishing is rewarding. We talk about everything that publishing is missing and the kinds of stories that are often overlooked but indie publishing can be the answer to those problems. The freedom that comes with the territory allows for a level of creativity and experimentation that’s been previously edited out or not even  published at all. With indie publishing there’s an opportunity to blend the personal and the professional.

Editorial Intern Tool Kit: What to Expect, Key Terms, and Readers Reports

Publishing Departments

What does an editorial intern do?

An editorial intern can be responsible for a variety of different tasks depending on the publishing house or press that they intern for. Some common tasks include proofreading catalog materials, putting together mailing lists, reading manuscripts and proposals submitted by agents and writing reader reports, attending editorial meetings and editing/proofreading in some cases.

Key Terms in Editorial:

Manuscript (ms): Typically used when referring to fiction; an unpublished version of what can eventually become a book that is submitted to the publishing house for review.

Proposal: Typically used when referring to non-fiction. It is similar to a manuscript in that it also gets sent to the publishing house for review, however, it is not the finished version of a project but rather an overview of it containing sections that function like a business plan including an overview, author bio, audience analysis, comparative titles, and marketing and publicity information.

Galley: An advanced copy of the book in the pre-publication stage. It is normally sent out to reviewers and usually comes right before the final proofreading.

Agent: Someone who works closely with the writer to help find a publisher and get their stories made into books.

ARC (Advance Readers Copy): Copies of a book distributed by an author or publishing company to a select group of readers that are intended for promotional purposes.

Backlist: A list of older books available from a publisher.

Frontlist: A publisher’s list of newly or recently published books.
Comparable titles (Comp Titles): Published books that would appeal to a similar audience as the book in question.

Slush Pile: Unsolicited manuscripts sent by aspiring writers.

What is a reader’s report?

A reader’s report neatly and concisely summarizes a manuscript for those who haven’t read it. It should include the specific genre of the piece, the narrative perspective (for fiction) and anything noteworthy about it. The manuscript’s objective strengths or weaknesses should also be included in the report in order to indicate why the piece should or should not be considered for publication.

I was instructed to write a readers report, now what?

Structure of a reader’s report:

Heading: The top of a reader’s report should include the title of the work (titles are normally written in all caps), the author’s name, the agent’s name and your recommendation (pass or consider).

Summary: No more than a paragraph describing what the manuscript or proposal was about.

Analysis: Around one to two paragraphs describing the strengths/weakness of the piece and comp titles.

Draft Pass note: Polite letter addressed to the agent when the manuscript/proposal is a pass.

Some objective reasons to pass on a manuscript: (Depending on the publisher you intern for some of these might vary but here is a general idea)

  • The stakes aren’t high enough or interesting enough to keep the readers engaged.
  • The characters are shallowly developed or unavailable
  • The plot doesn’t have enough momentum/ there are pacing issues
  • The story is overloaded with different threads or characters
  • The subject matter is too familiar to be impactful or to distinguish itself in the market

Subjectieve reasons that shouldn’t be the deciding factor for passing: (Depending on the publisher you intern for some of these might vary but here is a general idea)

  • The characters aren’t likable
  • You don’t like the writing style
  • There are small issues within the manuscript that are easily fixable

Questions to ask yourself when writing a readers report:

  • What is the book’s primary aim and did it or did it not achieve that claim?
  • Is this book offering a new/fresh perspective on the subject matter or something we haven’t seen before?
  • Who would the potential audience for this book be?

Harsh reality: Around 95% of submissions will end up being a pass.

Pass note: A note/email sent to the agent when the manuscript is a pass/ won’t be considered for publication. A pass note should be specific enough to demonstrate that you read the book but constructed carefully so that the agent cannot nitpick or argue with your reason for passing. Your aim is to make a short feedback sandwich— you can include one positive thing you liked about the book and pick the most unsuccessful element of the project to explain the pass.

Do’s and Don’t for Reader’s Reports

Do: Try and evaluate the piece objectively

Don’t: Judge the piece merely on what you as a reader enjoy reading

Do: Read enough of the manuscript until you can determine and defend why it should be recommended for consideration or a pass.

Don’t: Read the entire manuscript (normally reading around 30 pages should give you a good feel for the text)

Some more information on reader’s reports:

Literature’s Invisible Arbiters

A Successful Reader’s Report

https://www.tumblr.com/bibulous/42849529562/all-about-readers-reports

Editorial

Publishing Departments
https://upload.wikimedia.org/wikipedia/commons/0/06/Jove_decadent.jpg
Ramon Cases, Joven decadente, 1899, oil on canvas. Public domain.

As Peter Ginna writes in his 2017 book, What Editors Do: The Art, Craft, and Business of Book Editing, there are three main phases of editing. First is acquisition—finding new works to champion, as well as promising writers. Next is text development, what most people most associate with an “editor.” Here, the manuscript undergoes a series of edits (conceptual editing/developmental editing, line editing, copyediting, and proofreading). The last phase is publication—taking the finished product and putting it out in the marketplace for readers to read. This section will focus on the first two steps: acquisition and text development.

Acquisition and the Relationship Between Editor, Author, and Agent

Acquisitions are important to publishing houses as they determine their identity and success. Some houses produce commercial and genre fiction, while others produce high-quality literary fiction or cookbooks. Usually, editors are out of the office looking for the next big thing, whether it be reading literary magazines, meeting with agents, attending readings and conferences, visiting MFA writing programs, or, more recently, searching social media. One important thing to note is that, unlike most fiction projects, nonfiction projects usually start as proposals, a complete summary of a book an author is looking to pitch with an agent. Although the entire book hasn’t been written yet, it’s in the earlier stages where an editor (usually one who specializes in the topic) can tailor the needs of the book.

In What Editors Do, CEO of Simon and Schuster, Jonathan Karp writes that, out of his twelve rules for trade editors, rule #1 is “Love it.” If an editor simply does not “love” the project or proposal, then it would make the entire editorial process harder. How can an editor make the case to the rest of their house and to their readers if they are simply not invested in the project they are undertaking? 

Once they meet with an author and their agent (rarely do unagented manuscripts get considered; unsolicited works usually work their way to the ‘slush’ pile), then the editor must decide what it’s worth—every acquisition is a financial investment.

Editors then have the grand task of grappling with a list of questions and considerations: How many copies of this book can we sell? At what price? Who is the audience for this book? Is it a small, niche audience or a “general” reader, whatever that means? What are some comparative titles that this book could use to make an argument for its financial case? What can we, as a publishing house, gain from publishing this title?

Once everything has been considered and the editor is intent on taking on this project, then contracts and advances are negotiated. If the author has submitted their manuscript/proposal to other houses simultaneously, then those houses will offer their best bid on it. (If hotly contested, then not only do these auctions make the news, but they also result in multimillion-dollar contracts.)

During this process, the editor must sell, too. They must sell the project to their colleagues—get the rest of the house eager to involve themselves in publishing this title. They must also sell to the author—that their house is the best place for them to publish their writing.

Once the contract is signed, a timeline has been established, and the check goes out to the author, the book has been acquired!

Text Development: The Red Pencil

Once the editor has received the author’s first-draft manuscript, the two begin discussions on big-picture matters. This is developmental editing, sometimes known as conceptual editing. Here, the first draft, as with all first drafts, is rough. In this stage, editors look at structure, focus, pacing, plotting, characters, gaps in the narrative, continuity errors, creating subplots, excising extraneous material, and making the book more cohesive. During this stage, the editor may also want to work on the book’s title and subtitle. Developmental editing is difficult. To be a good editor, one must know what makes a good book good. Unfortunately, no one exactly knows. But there are ideas. 

Next is line editing, otherwise known as content editing. Line editing addresses a smaller range of edits compared to developmental edits, but is larger than copyediting. The line editor looks at syntax, the rearranging of sentences and words, taking note of transitions that need work, suggesting omissions, and asking an author to clarify where it needs clarification. Despite these edits and suggestions, ultimately, the author makes the final call. It is imperative that the line editor and the subsequent editors must respect the author’s voice.

During this stage, the editor must also assess if the manuscript needs legal vetting. Is there any material that’s particularly libelous? Would certain sections (or the whole book itself) defame real-life individuals? Typically, before transmittal, an in-house lawyer will check the manuscript.

After the line edits and legal vetting, the manuscript is turned into a transmittal—it is transmitted from the acquiring editor to the editorial production department. The transmittal itself contains all the material so far, as well as front matter (title page, copyright page, contents page, epigraph/dedication), back matter (bibliography, notes, or appendices), and an art log that contains all the images/artwork that will be used. At this stage, the editor hands over the manuscript to the managing editor, who will take it through the copyediting, proofreading, and galley setting phases.

The transmittal is now in the hands of the managing editor, who hands it over to the editorial production department for copyediting. Copyediting addresses spelling, grammar, and punctuation. Copyeditors can also suggest line edits. Typically, this is the last stage where the author can directly make changes to their writing.

Once everything has been edited to completion, the copyeditor then sends the finalized edits to a compositor/typesetter who will produce the first round of typeset page proofs, otherwise known as pass pages or galleys. The editor is reintroduced to the process and is given this galley. The author also receives a galley. The two review the proof in its entirety and mark up any corrections, taking note of any typographical or typesetting issues (widows and orphans, awkward line breaks). After these edits, it is then sent once again to the compositor so they can generate a second pass. Typically, during this stage, bound galleys or advanced reading copies (ARCs) are sent to people the editor and author think would provide a good review or blurb/praise for the book. It’s also sent to booksellers to generate excitement. After a thorough review of the second pass, a third pass is usually enough for the text to be devoid of error. This third pass is then finally sent to a press to be put out onto shelves everywhere! The book has been published!

by Aleander Santos