Publishing first BookThe first book is published
Publishing: 7 things lessons learnt from my first book Deal
I began four years ago on Twitter as a writer-less nouveau, and one of the first guys I had contact with was Graham Storrs. But Graham had not even begun to write literature yet, but his first book Timesplash was on its way. Subtitled a terrific contribution about what this first teaching led him, and now he is back, with a classic book dealing and a new book, Trueath.
It'?s a big thing for a novelist to sign with a publishing house. I was certainly there when I registered with a small New York newspaper to release my novel Timesplash. This was not the first book I had ever authored - more like the 10th - but it was the one that always impressed editors the most.
It was three years ago and this first bargain broke my fucking hearts. Sellings were gloomy and the book seemed like a total failure. However, my experiences have shown me a few things about publishing in today's messy market place that might be of interest. In 2010 I was told that if you get a book and it flops, you may never try again.
Editors would review your Nielsen information to see what your sells were, and a bust would make you a poor take. I was frightened when I saw the meager royal checks and ruled that I was an excellent man. Editors didn't seem to bother and operatives never asked.
The same was the case for Timesplash, which had already been released and had already fallen through and was then released itself with very little initial results. Self-publication was something else that I was said would ruin a book's chance of ever being commercial. But three different Big 6 publishing houses and three small media publishing houses were seriously talking about publishing it.
Morality seems to be, never give up on yourself and never on your book. I asked the publishing house if I could get my copyrights back after my first mistake (because I wanted to release the book myself). The publishing in my style had been an experience for them and they were as dissapointed as I was.
Still, I could have waited for the deal to end so I could do something else with my book. I was very suspicious of the permissions I leave to publishing houses and whether these cancellation provisions exist. Nowadays, even if I am selling a shorter novel, I let the publishing house know that I probably want to release it myself soon, and we are negotiating how long an exclusive season could last.
In the three years since the publication of Timesplash, I have had a great deal to do with large and small publishing houses, not only through Timesplash, but also with other titles. That' s what I learnt about them: they're just folks trying to run a game. They are not sure how best to do things, and they are often open to experiments and unusual ideas.
You sometimes see them trying new things in the frantic hopes of finding a better than competitive enterprise models. Nowadays, many publishing houses are the same - to the disadvantage of all. It' really a good thing to resign and ask yourself how you're going to make a living on the store you're so into.
They have to ask the publishing houses tough rhetoricals, but they have to admit that they don't know the answer. âThis is something youâve been hearing from self-publishing Guruâs all over the web, so I hardly need to review it. It was something I knew before I began to publish myself, but it was still a great disclosure to me.
It' all about advertising, promotion and finally sales: segmentation of your clientèle, the right proposal and conclusion of the transaction. Years ago I asked my woman (who is so much more wise than me) if I should give up my profession and run my own shop. Said I shouldn't - not because my idea wasn't good, or my busi-ness schedule wasn't working, or because I didn't have the necessary skill set, but because I wouldn't like to run a shop.
It was right, so I don't like publishing myself. It' a deal. I made a great deal of it ( "much more than any editor has ever earned"), but I don't like it. In recent years I have worked not only with many publishing houses, but also with many independant writers.
I have come to the conclu-sion that editorial staff should be well-trained. I' ve experienced many levels of incompetency among writers - especially on small printing machines, but not only - and I've only worked with a pair who can do it right, "get" what you try to do and use their skills to get it as well as possible.
Several of the writers I worked with were hardly educated. What I have now is very good and, I must say, even if I never make a dime out of my Momentum agreements, I would be tempted to stay with them just so that I would never have to work with impoverished people.
Since I don't like the commercial side of self-publishing and I'm generally disappointed with small publishing houses, I've chosen to be released only by big publishing houses - mainly the Big 6 (or how many there are now). While small publishing houses allow themselves to receive a" unsolicited" manuscript, the vast majority of large publishing houses still insists on getting the submission through an agents.
It' s this role to work with editors who otherwise won't talk to me, for which an agency is inestimable. Can' do without her. And I think I'm a chronic timid, introvert guy I've never seen before, but I think they' re gonna help you.
Indeed, I have never been able to do it alone, and every achievement I have had is due to the friendliness of other sentiments. They' re just so damn cute! Have you got a question about switching to a conventional publishing house? is a sci-fi author who lives in Queensland. As a former researcher, IT advisor and award-winning computer design professional, he has written three children's scientific literature, over a hundred journal contributions and more than thirty scientific works and book sections in the areas of AI, Psycology and Human-Computer-Interactions.
During the last years he dedicated himself to sci-fi and wrote more than twenty novels in journals and manuscripts. Recently Graham autographed a two-book contract with Momentum, an impression of Pan Macmillan, to release his timetravel adventure story Timesplash and its continuation True Path.