How to Hire an Illustrator for Your Next Book
Guest article by Gayle Martin
Finding the right illustrator for your next book can be a daunting task. Here are some tips from a former graphic designer to make the process easier.
There are times when clip art just won’t do, and the illustration for your book’s front cover is one of those occasions. If you write children’s books or romance novels an artist’s illustration on the front cover is a must. Those of you who don’t write in those genres may also want to consider having an eye-catching illustration with your front cover. It would give your book unique look, and who wouldn’t want their book to stand out from all the others on bookstore shelves? But how and where do you find a good illustrator?
A good place to start would be with your publisher. When I published my first juvenile novel, Gunfight at the O.K. Corral: Luke and Jenny Visit Tombstone, my original publisher hired the illustrator and oversaw the artwork. And while it was convenient having someone else do the legwork for me, I didn’t have the creative control I would have liked. I was able to offer feedback, but in the end the final design decisions were made by someone else.
By the time I finished the manuscript for the next installment in my series I learned the illustrator for my first novel had raised his rates and was no longer within my budget. I had also changed publishers, and my new publisher didn’t have an illustrator to refer me to. Luckily for me, I had been a graphic designer before I became an author, so I knew what to do. But for those of you who don’t have an art background the process of finding the right illustrator can be daunting. Here are some simple steps to help unlock the mystery of finding and working with visual artists.
Before You Begin Looking for an Illustrator
The process of working with an illustrator actually begins when you start writing your manuscript. Think about the visual images you are seeing in your mind as you write and make notes. You could write your thoughts down, or make stick-figure sketches, but get the ideas down while they are still fresh in your mind. Then imagine yourself holding your printed book in your hand.
* Are there any illustrations in the interior? Or is it just the cover?
* Are they color or black and white?
* If you are writing fiction, what do your characters look like?
Note: This is the perfect time to play casting director. As I write I think about the actors I would cast to play my characters. They can be today’s celebrities or movie stars from days gone by – it really doesn’t matter. The purpose is to create a visual reference of what my characters look like.
How to Find an Illustrator
Once you decide you are ready to find an illustrator there are many places where you can begin your search.
* Referrals. Ask other authors for the names of illustrators they have worked with. If you belong to an author or writer e-group post a message that you are looking for an illustrator. Chances are you’ll have many responses.
* Google. I found my illustrator by doing a Google search. I was referred to a web site called http://www.childrensbookillustrators.com There. I found dozens of experienced, professional illustrators listed with their portfolios posted.
* Friends. Just about everyone knows someone who’s ‘an artist,’ and ‘who would just love to illustrate your book.’ But a word of caution here. Before accepting their offer, find out if your friend’s friend is a professional artist, and then review his or her artwork carefully, especially if your book is going to be their first paying job. I know a few folks who are budding artists, and while they have a genuine talent they lack formal training. Their artwork shows potential but doesn’t have the finesse of a professional illustrator. If that’s the look you want then by all means go for it. If not, find a way to politely turn down their offer.
* Art schools. If you are on a tight budget you may want to consider contacting the art department of your local college or university. Better yet, if there is an art college in your community, contact them. Art students, particularly those who are getting ready to graduate, will jump at the chance to have a paid commission in their portfolio. Oftentimes their work is as good of quality as a professional but they mostly likely will not charge as high of a fee.
How to Hire an Illustrator
Now comes the fun part – reviewing their portfolios. I had a unique challenge because I’m writing a series of juvenile novels, and I want the covers of all my books to look consistent. With the illustrator of my first book no longer available to I had to find someone with a similar style. The Internet made the process much easier as many illustrators now have their portfolios on-line. After doing my Google search I spent several days going through portfolios until I found what I was looking for. You may find the following suggestions helpful in your search for an illustrator.
* Review the portfolios. This can be a time consuming process so plan accordingly. Your book cover is an investment of time and money that you could be living with for some time to come, so choose wisely. As you look at different portfolios make a list of those whose work comes the closest to what you had in mind. Once you have your list compete you may want to look over the portfolios again so you can begin narrowing down your search.
* Contact the prospective illustrator(s). This can be done either by phone or by e-mail. Politely introduce yourself and let them know what you are looking for. Also let them know what your budget is. In the world of professional illustrators, $1000 to $2000 for a color rendering for a book cover is a reasonable fee. Some artists may charge more; others may charge less. Some may want you pay a portion of the fee up front, while others may not bill you until the job is complete. No two people work the same, so be sure you have an agreement you are comfortable with before you go any further. If something doesn’t feel right move on. There is no shortage of talented people out there.
How to Work with an Illustrator
The thing I hated the most when I was a graphic designer was the prospective client who didn’t have a clue as to what he or she wanted, but told me once they saw it they would know it. As soon as they said that I knew I was in a no-win scenario because no matter what I did for them it would never be what they wanted. Please do not do this! Graphic designers and illustrators are not mind readers.
* Provide much information as you can. This will go a long way to make their job easier, as well as help create a better working experience both of you. Go back and review those notes or stick-figure sketches you made while you were working on your manuscript. By the time I hired my illustrator I had a pretty good idea of what I wanted. My book was a juvenile novel about Billy the Kid, and I wanted my lead characters in the front of the picture looking at the viewer while an ambush took place in the background. This gave my illustrator an excellent starting point.
* Offer him or her the opportunity to read your manuscript. (But do not ask him or her to write a review – that is not their job.)
* Have a fair and reasonable deadline. Creating an illustration is a time consuming process. You will not get a good result if the job is rushed.
* Remember that no one can crawl into your head and see exactly what your mind’s eye sees. The artwork will be his or her interpretation of your idea.
* Rough layouts are just that. They are an indicator of the final artwork, but they are not the finished product. Don’t fret if they lack polish.
* Be clear and upfront about who owns the rights. As a general rule of thumb you will have the rights to use their artwork for your book cover and book promotional materials, such as postcards or bookmarks. But should you decide to use the art for something other than your book you may need to get the artist’s permission.
Take your time and do your research. Find the right illustrator and cultivate a solid, professional relationship with him or her. I found the right artist for my book cover and when the job was done I had a cover illustration that was far better than I expected. Your book’s cover far is too important for anything less.
About Gayle Martin
Gayle Martin is a speaker and author of Gunfight at the O.K. Corral: Luke and Jenny Visit Tombstone, the first in a series of historical novels for young readers. She is a member of Toastmasters International, a Candidate member of the Arizona Chapter of the National Speakers Association, the Arizona Author’s Association and Arizona Small Business Association Authors and Speakers Roundtable. http://www.lukeandjennybooks.com
Glossary and Definitions of Publishing Terms
If you are not familiar with some of the common publishing terms, check out this glossary of publishing-related words and phrases.
Acid-free paper: Alkaline paper, free from chemicals that destroy paper. It lasts longer, but costs more and is generally used for library books.
Advance copies: First books sent to those who ordered, requested or were promised a book, generally before the book goes into distribution.
Alignment: The position of text lines on a page. Left alignment means that the left margin of each line down the page is even, and that the right margin is ragged or uneven; right alignment means that the right margin is even down the page, and the left margin is ragged or uneven. Alignment can also refer to margins being justified, which refers to both left and right margins being even down the page, causing extra spacing between words when necessary. Center alignment means that the lines of text are centered down the middle of the page.
Artwork or illustration: Visual material, such as drawings, pictures, and photographs, used to explain, clarify or decorate text
Back matter: Printed material found in the back of the book after the main section of the book. This includes the appendix, the bibliography, the index and other related matter.
Bar code: The bar code is the ISBN number transferred into a worldwide compatible optical character recognition (OCR) form, the scannable image that identifies the title, author and publisher of the book. See “EAN Bookland bar code”
Binding: The back and front covers and the spine that hold the pages of the book together.
Bluelines: The printer’s photocopy or blue print mock-up of the book’s pages. These are used to detect errors and make corrections.
Body copy: The main section of the book.
Body text: The typed portion of a page, excluding the headline.
Boldface: Words or phrases in heavier and darker print used for emphasis.
Book manufacturing: The complete production of assembling a book, printing, binding and packing.
Book signing: An event where the author reads, talks or discusses his/her book, providing an opportunity for potential buyers to meet the author and to have a copy of the book personally signed, usually held at bookstores or book fairs.
Bulk: Pages of the book per inch without the cover.
Camera-ready copy: The manuscript typeset and prepared for reproduction as is.
Cataloging in Publication data (CIP): Card catalog information printed on the copyright page; a service provided by the Library of Congress for books extensively used in libraries.
Clip art: Uncopyrighted drawings and pictures intended to be cut and pasted in printed material.
Coated paper: Chemically treated paper providing a glossy or matte finish used to enhance brightness.
Copyright: A legal notice that protects “original works of authorship” both published and unpublished, that are expressed in a tangible form, but not the ideas themselves.
Crop marks: Lines or markings on a camera-ready manuscript indicating where the pages will be trimmed after printing.
Direct mail: Form of advertising books by sending information (usually as a brochure or flyer) directly to possible buyers and clients.
Distributor: A company that, for a fee, represents publishers by handling the warehousing and shipping of books to bookstores and libraries. They sometimes request an exclusive relationship with publishers and serve as the source for wholesalers.
DRM: It stands for Digital Rights Management, which uses usually uses some form of encryption to protect intellectual property from copyright infringement.
EAN Bookland bar code: The electronic scanning lines printed on the back cover or book jacket encoded with the ISBN and retail price.
eBook: Sometimes presented as Ebook or EBook, the term refers to a book that is available in electronic format. Usually eBooks are available in Adobe PDF or eBook Reader format, or in Microsoft’s LIT format, but there are many other formats available. A good eBook uses the technology effectively, with tables of contents that link to the correct chapters and search capabilities. Links to Web sites and other files also can be included.
Font: A particular typeface in a specific point size.
Foreword: Introductory remarks to the book written by someone other than the author.
Front matter: Printed material found in the front of the book before the actual body copy starts. It includes title and copyright pages, dedication, foreword, preface, table of contents, etc.
Frontispiece: An illustration placed before the first pages of a book. Usually faces the title page.
Fulfillment house: A company that handles the entire ordering process for books, such as storing, packing, mailing, maintaining records, and other business related operations for the author or publisher.
Galley proof: The typeset composition of uncorrected pages before formatted into a book, allowing the reader to detect errors. A galley copy can be inexpensively bound and sent to reviewers before publication.
Gutter: The white space formed by the inner margins of two facing pages.
Header: A caption or headline used to introduce chapters, sections or a new topic, usually in larger and bolder typeface than the body text.
Independent publisher: Someone who establishes a small press publishing house with the intention of self-publishing his/her own works; also can accept other authors’ manuscripts for publication.
ISBN: Literally, it stands for “International Standard Book Number.” A worldwide identification system that is a required element in the book distribution industry.
Justify: Positioned lines of text so that the left and right margins are evenly set down the side of a page.
Layout: The overall design or mock-up of a page, including typeface, headlines, page number, and visuals showing how the page will look when printed; a guide for the printer.
LCCN: Established in 1901, a numbering system that lists forthcoming publications; this collection of selected titles is used by most public and private libraries, researchers and bibliographers. It stands for Library of Congress Control Number.
Manuscript: An author’s written material prepared for publication.
Marketing: The business of advertising, promoting and selling books to the public and to distributors.
Media kit: Well-planned promotional materials, such as press releases, flyers, letters, and reviews used for announcing and circulating information about a forthcoming book.
Niche market: Tailoring subject material to a specific area of demand or particular interest, such as topical and regional books.
Offset: The light image of transferred ink or an imprint that comes from an adjoining text page or illustration, or an inserted paper.
Overrun: To print a larger quantity of books than ordered. Printers estimate a 10 percent spoilage. If this does not occur, the additional books are charged to the customer but only up to 10 percent.
Perfect bound: A binding method that uses plastic glue to bind the loose leaves to book cover.
Prepress: The book designer’s or printer’s preparation of the manuscript for production.
Press release: An announcement issued to the news media and other targeted publications.
Printer’s errors: Mistakes made during the printing process, such as ink blots or smudges on pages. Also corrections or changes made because of some error on the part of the printer. The publisher should be compensated for printer’s errors.
Print on demand: The technical capability to print and bind books in small quantities—even one at a time—as markets demand.
Publicist: Someone who customizes promotional materials for a given book; may also assist in arranging public appearances and interviews.
Remainder: Books that are discounted from the publisher because of overprinting, sluggish sales, or outdated material.
Retail: The sale of books at full price directly to the public.
Sans serif: Typeface that is straight with no serifs or small extensions on letters, generally used for headers.
Self-publish: One’s written works made public by oneself.
Serif: The fine line that extends from the top and bottom of letters making them easier to read, used for the body text of a book.
Signature: Large sheets of paper printed in multiples of four that when folded and trimmed become the pages in the book.
SAN: It stands for “Standard Account Number.” A number assigned to libraries, schools and organizations that buy, sell or lend books.
Stripping: Positioning all the pieces of the layout on large sheets of paper to construct the templates.
Target audience: An identified group of readers who would most likely be interested in a book’s particular subject matter.
Title page: Odd-numbered page at the beginning of the book that gives the title, subtitle, author’s name, publisher and place of publication.
Typeface: The style of typed letters used for the body text.
Underrun: To receive fewer books than ordered. This may occur because of spoilage during printing or printer’s error.
Wholesaler: A company that handles the resale of books in large quantities and serves booksellers (distributors work on behalf of publishers).
Much of the content of this glossary was adapted from Go Ahead Self-Publish!, compiled and edited by Eileen Birin.
Dialogue Dilemma
As a Wheatmark book editor, I’ve noticed that one of the most common hindrances to good writing happens in dialogue. In many cases, dialogue comes across sounding unnatural, stilted, and sometimes even downright corny (jeepers, Mr. Wilson). The dialogue dilemma seems to challenge even the best writers I come into contact with. So I thought I’d add my two cents worth into the pot on how to improve dialogue.
As a former reporter, I used to rely on dialogue (or quotes, as we newspaper people like to call it) to help break up a story and bring more personality into the news. I usually tried to put a good, catchy quote right after the lead paragraph as a “hook after the hook.” If the quote was good enough, I sometimes even led with it. Of course, there’s a huge difference between newspapers and books, but some of the same principles still apply. Dialogue is a great way to add more life to your book. It also helps the reader get know your characters and their personalities by showing the reader their personalities instead of just telling about them.
When done incorrectly, however, dialogue can become your book’s worst enemy. Here are a few tips that may help you create better dialogue.
1. Make your dialogue sound natural. People talk in contractions and slang. So make sure the dialogue in your book uses these. It may help to read your dialogue out loud to see if it sounds natural to you and your friends. And don’t forget about the idiosyncrasies of human interactions when your characters speak. For example, people don’t always pay strict attention to every word that’s coming out of your mouth when you’re talking to them. Often, they cling to one aspect of what you’re trying to say and then take that portion of dialogue and start a new train of thought. Sometimes they change the subject altogether. And sometimes they’re not even listening. Incorporating these idiosyncrasies of normal human behavior into your book’s dialogue will help your make-believe world become real in your reader’s mind.
2. Make sure your dialogue matches the personality of your character. If you’re a 70-plus-year-old who is writing for young adults, you should probably spend some serious time around young adults before writing your book. They don’t talk like you used to talk when you were their age. The slang has changed, along with the meanings of certain words. Their issues have changed, too. If you don’t have any young adults that will let you “hang” with them, it may help to watch some teen oriented movies and read other popular books for young adults. The same thing goes for your elderly characters—they shouldn’t sound like teenagers. And make sure that your characters carry the same personality in their dialogue throughout the entire length of the book. A college professor shouldn’t start to sound like a Midwestern farmer halfway through the book. Consistency is very important for the reader to get to know your characters and begin to identify with them.
3. Don’t use dialogue to provide information that wouldn’t be natural in a normal conversation. For example, dialogue is not the best venue to provide your readers with background information for the story. Except in limited circumstances, dialogue is also not the place to tell your reader who is talking. I cringe every time I read something like this:
“Well, Steve, I was thinking the same thing, but…”
Do people really say each other’s names in dialogue? Pay attention the next time you’re in a conversation. They hardly ever do, unless they want to get your attention or emphasize the name for a specific reason.
4. Don’t be afraid of the word “said.” Said is a word like and, is, to, and a. It’s hard to overuse. In fact, it actually helps the reader focus on the dialogue, and not on the mechanics around the dialogue, if you do use it. If you try to avoid overusing said by replacing it with words like exclaims, mused, and protested, you may distract the reader away from the dialogue. This doesn’t mean you should never use these fancier words. It only means that they should be used sparingly when there is darn good reason to use them. And that “darn good reason” is not to avoid using the word said. The dialogue itself should tell the reader that the character is “musing” or “exclaiming.” If it doesn’t, then you probably have a problem with your dialogue.
5. Keep your dialogue short. People don’t often launch into long, uninterrupted quotes unless they’re telling a story. Long-winded dialogue also defeats one of the main purposes of having dialogue included in your book: to break up the rhythm of the writing so that it is more enjoyable and interesting to read.
6. Punctuate it right. Novice authors often get confused about how to punctuate dialogue. Periods and commas always go inside quotes. This even applies when only the last portion of the sentence is dialogue. For example:
Pete shifted his weight and squawked in a hoarse whisper, “You don’t understand.”
Different speakers should also be in separate paragraphs—even when they are talking about the same subject. This helps the reader identify that a different person is talking.
That’s all the dialogue issues I can come up with for today. If you think of any others—or have any questions—please post your comments and questions. I’d love to hear from you.
—Lori Leavitt
Wheatmark book editor and designer
Nonexclusive Publishing Contract: What It Means to You
Wheatmark’s publishing agreement is nonexclusive. What does it mean to you, the author?
In short it means you are not locked into an exclusive contract; you are free to cancel or publish elsewhere at the same time.
Let’s say you have been publishing your book with Wheatmark for a while, and you have an opportunity to get thousands of copies of your book printed cheaply by a different printer, say, a printer in Hong Kong or even one in the United States. You still want to keep selling your book on Amazon and Barnes & Noble using Wheatmark’s book distribution system, but you just don’t want to pass up the opportunity to get thousands of copies for a better price. The good news is that you can do both: publish your book with Wheatmark and have extra copies printed by different printers. Because our publishing contract is nonexclusive, you have the freedom to do so.
Now, what happens if, some time after you publish your book with Wheatmark, a New York publishing house calls you and they want to publish your book?
Most likely they will want you to sell your book to them in return for exclusive rights. They would want to make sure that no other publisher or printer would be able to sell or print your book. This, too, is possible when you are publishing your book with us: you can cancel the publishing agreement with us at any time.
When you hear nonexclusive, think freedom!
Ebooks…Will They Work for You?
We’ve been publishing books for eight years now and converting to and distributing our titles as ebooks has always been in the back of our minds. (We were even fortunate to register the domains ebookpublishing.com and ipublisher.com in time!) Yet the big ebook invasion promised in 2000 never really happened. There are still too many competing ebook platforms and formats to choose from. (See the recently resolved battle between Blu-ray and HD DVD for high-definition DVD formats.) Digital rights management (DRM) is also a mess. Besides, we already offer superior book publishing services and distribution of paper books, and we will do the same with electronic books only if it benefits our authors and the sales of their books.
Having said that, this may be the time to reevaluate launching our ebook services and I need your help! Amazon has recently introduced its ebook reader, the Kindle. This device breaks away from the other competing technologies by including its own wireless distribution system: you don’t need a computer or Internet connection to be able to purchase and read ebooks on the Kindle. As we look into the launch of our ebook publishing services, Amazon’s Kindle will definitely be on the top of our list for available formats.
I need your help with the following: Assuming that you have written or are writing a book, post a comment below with your thoughts on whether you think your book would be well-served by distribution as an ebook. Do share with us also whether you have a strong preference for a particular ebook format: Kindle, MobiPocket, Adobe Reader, Microsoft Reader, Palm Reader, etc. If we were to provide you with your ebook, would you want it distributed and rights managed by Wheatmark (through Kindle, Amazon, online ebookstores) or would you just prefer to get a particular ebook file (e.g. PDF) that you would host and distribute on your own website yourself?
BusinessWeek Wants You to Get Published
This just in: publishing a book is a smart move for your business. Yesterday, BusinessWeek ran a nice article about how to get a book published to help you grow your business.
To summarize:
1. You could try getting an agent and selling the book to a publisher of business titles.
2. You could publish the book yourself by getting an ISBN and marketing it online.
3. You could use a “transitional” publisher. (This, apparently, is a new way of referring to a “self-publishing service.”)
It all sounds so simple!
All sarcasm aside, however, the article is a good introduction to the broad strokes of how book publishing works.
To read the full article, click here.
A New Era in Book Publishing
As president of the Arizona Book Publishing Association for the last two and a half years, and as head of the self-publishing firm Wheatmark, www.wheatmark.com, for the last eight years, I’ve talked to hundreds of publishers and authors, and read countless articles and studies on the publishing industry. This experience has made it clear to me that a significant transition is taking place in the book publishing industry. The era of the major publisher and the bestseller is ending, and the era of the independent publisher and the micro market is beginning.
Major publishers’ titles account for an ever decreasing portion of overall book sales in the United States, while independent publishers’ titles and self-published titles account for an ever increasing portion. Similarly, bestsellers constitute an ever smaller portion of the total publishing pie, while books selling in the few thousands or hundreds account for an ever larger portion.
This shift is the result of the advent of two major new technologies: the Internet and inexpensive digital short-run printing.
The Internet contributes to this change by allowing for infinite virtual shelf space for books online. Major publishers’ business models are built around the assumption that there is a limited amount of shelf space in bookstores. Major publishers compete vigorously with one another for this finite shelf space. In their worldview the publisher that gets its books placed in the bookstores wins, the publisher that doesn’t loses. This has, over the years, resulted in publishers making major financial concessions to bookstores and bookstore chains, including low list prices, huge discounts, 100% returnability, and high prices for premium in-store placements. The result: bookstores and bookstore chains have become the least lucrative place for publishers to sell books. Happily, thanks to the Internet, independent publishers and self-publishing authors are no longer limited to the shelves of brick-and-mortar bookstores. Even self-publishing authors with only one title can sell directly to readers. Major online bookstores like Amazon.com can carry every title that every brick-and-mortar bookstore carries plus every title any publisher or self-publishing service publishes.
Inexpensive digital short run printing technology contributes to the change in the publishing landscape by allowing publishers to publish more titles, and by allowing more authors to self-publish. Major publishers’ business models are built around the assumption that all print runs need to be fair-sized and cost tens of thousands of dollars. Major publishers, therefore, eschew books appealing to small or micro markets for fear that they will be stuck with unsold inventory. Thanks to digital short run printing technology, publishers can now afford to publish more titles in shorter incremental runs without this risk, and more authors can afford to self-publish.
Independent publishers and self-publishing authors can profitably publish books that appeal to micro markets however small or geographically dispersed. And they’re doing it – the number of books published has skyrocketed in recent years. And, there is evidence that book buyers are changing their buying habits as a result of having a broader range of choices. The number of weeks the average bestselling novel remains on the bestseller list has declined precipitously in recent years. Just as big hits are becoming less frequent and less “big” in the film, television, and music industries, so bestsellers are taking up an ever dwindling portion of the total book publishing pie. Bad news for the major publishers. Good news for the little guy.
How to Spot a Phony Book Reviewer
Guest article by James A. Cox
I’ve been a book reviewer and a keenly interested observer of the publishing industry since the fall of 1976. My more than 20 years of experience as a reviewer, an editor of a monthly book review newsletter, a producer of radio and television weekly book review programs, and editor-in-chief of the Midwest Book Review (supervising the work of 37 volunteer book reviewers across the United States and Canada) has taught me a great deal about reviewing books, editing the reviews of others, and recognizing the needs and problems of the independent small press publisher with respect to being reviewed.
The main reason for a publisher to seek reviews is to collect quotes that can be used in publicity and promotional materials, which could result in increased sales for the book. The principal hazards facing the publisher with respect to reviews are being panned by an honest book reviewer and scammed by a phony book reviewer.
With respect to an unfavorable review by a legitimate reviewer, I can offer the publisher nothing but my sympathy. But I can offer some very practical advice on how to avoid getting “taken” by a dishonest scam artist posing as a book reviewer. This is important money-saving information for every tight budget, every-penny-counts, small press publisher because sending books to phony reviewers not only wastes books (along with the shipping and handling costs to send them), but it also steals the hoped-for publicity and promotional boost in a very competitive retail market. Furthermore, the publisher loses an opportunity to send that book (and expend the same limited postage monies) to a legitimate reviewer, thereby reaping the marketplace benefits of a legitimate review that would be read by potential buyers.
Book reviewers can be categorized much the same as the books they are sent for review: the good, the bad, and the mediocre.
The hallmarks of any good book reviewer begin with feedback to the publisher, usually with a copy of the review. Typically this is in the form of a tear sheet from their publication or a script from their radio or television program. This tear sheet or review script is usually accompanied by a cover letter giving any additional details, such as the date of publication or the time of broadcast.
The Internet and the World Wide Web have added a new dimension to book reviewing. When reviews are posted on the Internet, the reviewer’s notification letter to the publisher will include the text of the review and will indicate what websites, newsgroups, online bookstores, or listserves (internet discussion groups) were posted so that the publisher can verify the postings accordingly.
A bad reviewer isn’t the one who pans your book with an honest (albeit negative) judgment; it’s the one who solicits a review copy of a publisher’s book under false pretenses: someone who wants a free copy of your book with no intention of fulfilling their side of the bargain of furnishing an opinion for the publisher to use in publicity and promotional materials or for a potential book buyer to read. In short, a bad reviewer is someone out to get something for nothing, a scam artist, a thief.
The mediocre reviewer is simply someone of good intentions but poor performance. Never underestimate the ability of a given book reviewer to be basically inept and a failure at the trade and craft of reviewing, just as there are those well-intentioned authors who couldn’t write their way out of a paper bag, or those well-meaning publishers who can’t seem to proof a text, or design a marketable cover, or balance a publishing budget.
The focus of this article is to provide a list of tips, tricks and techniques in spotting a bad reviewer, or at the very least, the mediocre reviewer.
1. Don’t Send Review Copies Based on Telephone or Email Requests
Never accept a telephone request for a review copy of your book from someone you do not know or from the representative of a review organization that you have never heard of. When receiving such a telephone solicitation for a review copy, require the caller to submit their request to you in writing. No legitimate reviewer would ever argue with or refuse such a requirement.
As the use of the Internet spreads throughout our society, and as more and more publishers come online, we are gradually seeing more email (electronic mail) solicitations for review copies. The same rule applies to an email review copy solicitation as to the telephone version: Require the email sender to submit a standard letter of request sent via the post office. The modicum of protection offered by U.S. Postal Service laws, which prohibit using the mails for fraudulent purposes, may deter the phony book reviewer.
2. Look for Essential Elements in Request Letters
When a review copy solicitation letter arrives in your mailbox, be certain that it is written on letterhead stationery that includes the reviewer’s address and a phone number. These two items give you (and the U.S. Post Master General) the information necessary to verify the legitimacy of the reviewer.
I would also advise that a street address be required (rather than merely a post office box). This is because “fly-by-night” scams are often easier to perpetrate through the use of post office boxes than through the use of street addresses. This advice is controversial amongst some, feeling as they do that it unnecessarily casts suspicion over legitimate businesses that use post office boxes honestly. My response is that these good folk are usually selling something, whereas the unknown book reviewer is asking to receive something—for free. While it is possible to run a scam from a street address, it is far more commonplace among con artist operations to use a post office box to run their game until they are discovered. Then they pull up stakes, change their names, and rent another post office box.
3. Confirm the Book Reviewer’s Credentials
There are several excellent techniques to confirm the legitimacy of a prospective book reviewer who has made a request for a review copy.
Ask for a sample copy of the publication. If the reviewer works for a radio or television program, request a copy of their show. If he is a freelancer, ask for copies of reviews that he has done and a list of the media outlets or book review publications that have featured his work. Ask for professional references. Have other publishers used this reviewer in the past? Does she have a list of independent publicists, newsletter or newspaper editors, or radio or television show producers who have used her reviews? If so, call those references and check them out. If the reviewer cannot provide such a list, ignore the request.
Join publisher groups, such as SPAN and PMA, and internet discussion groups, such as PMA-L. As a participant in these groups, ask your professional colleagues if they have ever heard of, or had dealings with, the reviewer or book review organization.
4. Be Cautious, It’s Your First Time Together
If things seem kosher after you have checked out the prospective reviewer, send only one book for review consideration the first time around. This is not a problem with the very small publisher who only has the one book, but for a larger publisher with a multi-title list, or a lengthy, active back list, this limits the damage if the reviewer turns out to be a scam artist clever enough to get past your initial screening. When the reviewer proves legitimate and provides a review, more books can be sent for review consideration later on.
5. Follow Up
Now that you’ve taken the chance and sent a review copy to the prospective book reviewer there is still one more thing to be done in order to insure that you are working with a good reviewer – follow up.
Some publishers send self-addressed postcards with the review book, requesting that the reviewer pop them in the mail to let them know if the book was received and perhaps even provide an estimated review date, but these don’t often work well, even with legitimate book reviewers. There is another, better way to follow up on your review copy and at the same time enhance the chances of actually getting reviewed. Seven to ten days after popping your review copy in the mail, make a phone call to the reviewer and ask these three questions (and in the order I’m going to lay them out for you):
1. This is (your name here). With the mail being as uncertain as it is, I’m calling to confirm that you received (your book title here).
2. Can you tell me the current status of (your book title here) with respect to your review schedule?
3. Is there any further information or assistance I can provide you?
No legitimate reviewer will object to these three questions as I have stated them. Reviewers are well aware that sometimes things go astray in the mail or that books get damaged in transit. Reviewers also understand that publishers are very interested in whether or not their book will “make the cut” and get reviewed. There is also the occasional need for additional information—an ISBN number, more author bio details, an 800 number, the availability of an email address or the presence of a website, and so forth.
If, despite all your precautions (and my good advice), you have indeed been taken in by a phony book reviewer, do one last thing before chalking it up to experience. Write to your publisher association’s newsletter and/or make a post to your publisher internet discussion group (PMA-L) and denounce the person who masqueraded as a legitimate reviewer so that other independent, small press publishers can be forewarned and benefit from your experience. We are all our brothers’ keepers in the sense that we have an obligation to help one another keep from harm’s way.
I’ve been reviewing books and advising publishers on getting reviewed for more than 20 years now. It is my firm belief that most people who ask for review copies are very well meaning and honest in their intention. The scam artists are few and are not at all difficult to spot if you know what to ask, what to require, and what to look for. While there will inevitably be a few bad apples in any apple barrel, the overwhelming majority of the apples will still make good eating. And even a bad apple can be turned into satisfying fertilizer with a little cooperative effort!
About James A. Cox
James A. Cox is the editor-in-chief of the Midwest Book Review, which produces four monthly book review library newsletters and two monthly book review online magazines (“Internet Bookwatch” & “Children’s Bookwatch”); produces and hosts the weekly half-hour television show “Bookwatch” in Madison, Wisconsin (first launched in September, 1978 and now the oldest public access television program in Wisconsin); is an on-air book radio review columnist for KNLS Bookwatch, which is broadcasted via shortwave radio to Europe, North & South America, and the Pacific Rim; and is a regular contributor of advice and commentary for two internet discussion groups dedicated to the small press publishing community: “Publish-L” and “PubForum”.
8 Ways to Build Your Author Platform
Guest article by Patricia Fry
If you’ve been poking around at writing and publishing sites, attending writers’ conferences and reading about authorship, you’ve heard/read the term platform. You may even know what it means. It’s your way of attracting readers for your book. It’s your following, your level of notoriety and the power of your personal and professional contacts. The extent of your platform can be the defining factor in landing a publisher for your memoir, novel or self-help book. But the scope of your platform will also determine your book’s ultimate success.
You hear experts say, “The best time to start establishing your platform is before your book is ready to make the rounds of agents and/or publishers.” I maintain that hopeful authors should start building a platform before they write the book. Here’s how:
1. Build promotion into your book before it is a book. For fiction, choose your setting carefully. Make sure it is conducive to promotion. Select a city that’s interesting-one in which the citizens take pride. If you story portrays a positive view of the community, residents of this town are apt to welcome you for author events.
Involve characters in current issues: autism, gang activity, politics or childhood obesity, for example. Give a character a horse or a motorcycle. This gives you additional ammunition for promoting. Write for an audience base that goes beyond the typical mystery or romance reader.
2. Establish an active and or even interactive website related to your book. The earlier you build a website the sooner you can start promoting the concept of your book and, by the way, your expertise and/or talent in your topic or genre. Hopeful authors frequently ask me, “Once I finish my book, should I design a website just for the book?” I tell them, “No! Do it NOW. Get potential customers accustomed to visiting your site in order to glean information or to be entertained. Entice them to come regularly by writing a daily or weekly blog, running contests, introducing new features and presenting new concepts.
3. Hone your public speaking skills. Whether you are writing a thriller, children’s story, historical novel, memoir, how-to or a book of abuse and recovery, one of your greatest assets is your personality and your personal touch. If you aren’t accustomed to speaking in public, take steps to become skilled. Join Toastmasters. Take on leadership roles at work. Go out and practice speaking in front of people. Personal presentations sell books and this is true whether you’re reading your book to children at the local library or traveling thousands of miles every year presenting workshops to professionals.
4. Create one or more programs around the theme of your book and start presenting them now. Yes, do this even before your book is a book. If you hope to land a traditional royalty publisher, this will go a long way toward impressing him or her. If a publisher has half dozen magnificent book manuscripts to choose from, he’s going to pick the one that will make him the most money. How does he decide? He’ll choose the author with the best platform-the author who has an audience and/or a measure of notoriety in his or her field or genre.
5. Become known in your field or genre by getting involved with appropriate websites and organizations. Affiliations are important when it comes to establishing your platform. And why wait until your book is published? Become familiar with organizations related to your topic or genre. Join those that you feel can help move your career forward through education and/or association. Become known by participating.
6. Write articles on your topic or stories in your genre and widely submit them to appropriate publications. This is an excellent way to get your name out and attract an audience. Article/story-writing is a field in and of itself, so make sure you become familiar with the process. Read “A Writer’s Guide to Magazine Articles,” http://www.matilijapress.com .
7. Develop a massive mailing and email list and keep adding to it. Don’t take your mailing list for granted. Treasure it. Protect it. Keep adding to it. Not only will it be useful in launching your marketing plan, but some of your contacts may actually provide additional promotional opportunities. Do you know someone who heads a major corporation where you could give seminars reflecting the theme of your book? Maybe you have a friend who plans conferences internationally, who runs a TV station or who is of celebrity status. The size of your mailing list is important, but so is the content.
8. Establish a newsletter and distribute it to your email list. Use your mailing list to notify people when your book is published, to inform them of your appearances, etc. And consider starting a newsletter to dispense additional information and announcements on a more regular basis.
There’s much that you can do to promote your book even before it is a book and to establish your platform along the way.
About Patricia Fry
Read more about platform and every other aspect of producing a book in Patricia Fry’s NEWLY revised 2nd edition book, The Right Way to Write, Publish and Sell Your Book and order the accompanying, “Author’s Workbook.” Follow Patricia Fry’s informative blog at http://www.matilijapress.com/publishingblog
How to Promote a Book Signing
Guest article by Tami DePalma and Kim Dushinski
Work with the bookstore. Your book signing coordinator, often called a community resource coordinator, has probably conducted many more book signings than you have. They usually have a good idea of what works and what flops in organizing an event. Rely on their expertise to get more people to your event and to buy books when they get there.
Tell the book signing coordinator what marketing efforts you are putting forth to attract people into their bookstore. Ask them what advertising and publicity they will do to get people to the event. Make sure that between the two of you, you’ve found ways to reach your targeted audience repeatedly. Ask to see the materials they distribute, and check for accuracy.
When sending releases to the media, remember, the media likes free events, especially when the event directly applies to their audiences. They don’t like what they call a BOPSA — A Bunch of People Sitting Around. What can you do to involve your audience? What activities will make great photo opportunities? Involving your audience will also get them more active in your subject and more likely to purchase your book. Just don’t have a BOPSA.
HOW TO COORDINATE A BOOK SIGNING
The following Book Signing Activity Checklist puts you on the right track. Eight weeks is the minimum time to carry off a successful book signing event. With the competition from other authors increasing, more and more book stores are scheduling three months in advance.
BOOK SIGNING ACTIVITY CHECKLIST
During Plan Determine dates and cities
8 Weeks Prior Call booksellers to schedule book signings
6 Weeks Prior Coordinate marketing responsibilities with booksellers
5 Weeks Prior Facilitate bookstore with ordering books as necessary
4 Weeks Prior Send out media kits – get contacts from store
3 Weeks Prior Contact MarketAbility/PRNewsWire – regional coverage
2 Weeks Prior Follow-up with media, provide new information/angles
Re-send / Re-fax information as necessary
1 Week Prior Check with booksellers for sufficient quantities on hand
1 Week Prior Travel
Send out PRNewsWire
Week of Event Media Interviews
At the Event Pick up store newsletter for your files
Meet as many booksellers as possible
Have attendees sign up for your mailing list
After the Event Send Thank You Note to Contact at Book Store
Send Thank You Note to Media who Covered Event
Copy this form as necessary for each book signing.
Date ______________ Time _________________________
Store _______________________________________________
Address ____________________________________________
City ________________ State _______ Zip ________
Contact _____________________________________________
Phone ___________________ Fax _____________________
WAYS TO PROMOTE EVENT: ASSIGN TO:
Media Release to Media ______________________
Event in Bookstore Newsletter ______________________
Post Card Mailing ______________________
In-store Signage ______________________
Bag Stuffers ______________________
Co-op Ad ______________________
Point of Purchase Displays ______________________
About Tami DePalma and Kim Dushinski
Excerpted from MAXIMUM EXPOSURE Marketing System – Publicity and Promotion Blueprint for Book Publishers, which was created by Tami DePalma and Kim Dushinski, partners at MarketAbility. In business since 1989, MarketAbility markets books through publicity, promotion, internet and special sales. Their passion and their motto—Book Publicity and Promotion, with a Twist! has earned maximum exposure for dozens of independent publishers. MAXIMUM EXPOSURE was created for small publishers who have great books, and expect (and deserve) unlimited results on a limited budget. More information is available by calling 1-888-55-TWIST or emailing twist@marketability.com