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Tuesday, September 20, 2005January to June Yesterday we talked about what happens to my manuscript when I initially send it to my publisher. Today, we'll talk about what happens once the edits are done and the sales conference is over.On the marketing side of things, the folks in charge of ads really put it in gear. Placing advertisements in magazines require several months lead time. So, they decide what market they want to reach, what magazines best reach that market, how big an ad they want to place, etc. The graphics department has to do a lay-out. It might be an ad of just my book or it might include several Bethany House releases. The internet manager is surfing the web trying to make the same kind of decisions. The art department works on the back cover design and the design of the book's inside (the swirlies at the beginning of each chapter, what font will be used for the book, what font will be used for the headers, etc). Production puts together a timeline of what has to happen in order to meet our release date. ARCs (Advance Reader Copies) are generated. These are unadorned, bound copies of the manuscript that are sent to reviewers across the country to give them time to read the book and review it before it releases. They are also sent to retailers who like to read the ARCs before placing an order for their stores. The sales force continues to meet with buyers of major chains to generate orders. The editorial department sends the manuscript to a "copy editor" who reads the manuscript for careless errors (ie: If a character starts out with blue eyes, does he end up with blue eyes? Are there spelling or grammar errors? Is there a "pet phrase" the author uses a bazillion times that becomes distracting?). Once that is done, it goes to typesetting and they lay out the book. This is called a "galley." They print it out on 8x10 pieces of paper and send it to proofreaders for one last check. They also send it to the author for a final check. This is my last chance to make any changes and the changes are not suppose to be major. You're looking for typographical kinds of things. And since no one knows the manuscript like the author does, it is always wise to let them have a look-see before it goes to final print. Once the galley's have been approved by the author and the proofreaders, production cranks it up a notch and off to the press they go. Production's "due date" is about a month before the author's actual "release date." This is because it takes about a month for the books to be boxed, shipped, distributed and shelved. So, if Lady's release date is June 1st, then production has to have it on the truck by May 1st. (That's why some stores have books before the actual release date. All depends on when they receive their shipment and how long it takes them to get it from the back room to the store shelf. But by the official "release" date, it should be everywhere.) Now the publicity department takes over. They promote the book and author through all media outlets--everything from signings in your local store to an appearance on Oprah. Some publishers do more than others. Many leave the lion's share of the advertising and promotion up to the author to pursue (and pay for). Bethany House does a TON for their authors. This is really nice because as it happens, the author is trying to finish up the manuscript that is due to release the following year. In other words, Bride's release date was July 1st. My manuscript for Lady was due into the publisher August 31. So, right before "finals" as it were, I'm running around doing lots and lots of promotion. When the publisher is willing to schedule all that stuff for you, it leaves you a lot more time to do what you do best ... write the next novel. Believe it or not, I've left out a ton of steps. The team work on a project like this is overwhelming when you think about it. So, I don't think about it. I just try to do my little piece to the best of my ability. Tomorrow we'll set some firm dates for our upcoming book discussion of Chris Well's Forgiving Solomon Long.
posted by Deeanne at 11:50 AM
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5 Comments:
What happens if the editors come up with a change that you don't agree with? Are you bound by your contract (or whatever) to go along with whatever they want, or can you refuse their ideas?
1:21 PM
They're the boss. They're putting up all the money, taking all the risks, so they can ask for pretty much whatever they want.
My experience is, though, that if they had major problems with your stuff they wouldn't have bought it without talking over those changes with you first.
They also couch their opinions/requests in very non-threatening ways. They want their authors to be happy. After all, they have the same goal the author does--they want the book to work and to do well.
So, in my opinion, the author needs to assume the editors know what they are doing and to be as flexible and easy to work with as possible. I guess that's no different from any employer/employee relationship, eh?
3:56 PM
That's the way it works around here! How did you learn how this whole process goes? I mean, for a random person who's dreamily thinking of writing a book, all of this detail just doesn't necessarily occur. Did you learn bits and pieces of it at all those conferences you went to over the years, or did BHP explain it to you when they took you on, or did you learn it all as you worked on Bride and you literally walked thru it?
4:20 PM
The lion's share I learned via writer's conferences and organizations. The rest was on-the-job training. ;-)
5:45 PM
Another question for the stack: When they approached you about a multi-book contract, did you have future book ideas in your head already, or did you hafta whip some up for them? Or didn't they care if you had specific concepts yet? Also, what difference did having a multi-book contract mean to you as a writer? (As opposed to just getting a contract to do the one.) Besides the affirmation, I mean.
6:49 PM
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