April 21, 2010
It is a truth universally acknowledged that people in possession of a good manuscript must be in want of an outstanding cover. A great cover can make an amazing difference. So can a bad one.
A few years ago I heard Ken Peterson of Tyndale House Publishers offer two simple keys to success—coding and positioning.Continue reading "Two Keys to Outstanding Cover Design"
April 1, 2010
Every few months we get together a whole bunch of us from editorial, marketing, sales, production and design--anyone substantively involved in making or selling a book--to evaluate the releases from a season in the previous year. Once we had a cover designer attending for the first time. In trying to explain to the designer what the meeting was all about, someone said with a wry smile and in a voice everyone could hear, "This is the meeting in which we do judge a book by its cover."Continue reading "Books Without Covers"
July 28, 2008
Celebrate logistics, as I've said before, because logistics make the romance of publishing possible. A publisher can also outsource its logistics so it can focus on the sides of publishing it loves best and does best—probably editorial, sales and marketing. But just because you outsource doesn’t mean you can forget about operations, fulfillment and accounting. You just need to be involved in a different way at a different level.
* Outsourcing Accounts Receivable.
* Doing AR Yourself.
* Outsourcing Warehousing and Fulfillment.
Outsourcing was all the rage several years ago. And it can be very helpful for small or large publishers. But there are always drawbacks with every choice, and the industry is full of horror stories about outsourcing gone very wrong. Publishers should consider the pluses and minuses carefully when deciding how to handle logistics.
Posted by Andy Le Peau at 5:55 AM
May 7, 2008
"Design, production, and manufacturing, in many publishing houses, are not considered as glamorous as editorial or sales, and may be looked upon a secondary. They should be viewed as quite the reverse," says publishing guru Tom Woll (p. 161). Why? Well, how many times have design and production saved editorial's and marketing’s behind when an author was late or a book needed to come out early? How many times has great jacket design made customers give a second look at something new? And how much money has been saved by shrewd print buyers?
Woll rightly points out, however, that it is unwise and unfair for others always to rely on production to bear the burden of fixing problems. When it comes to scheduling, one guideline we’ve implemented with some success is this: Do not schedule a book for publication until the revised manuscript is in hand.
That could sound draconian, but it works. Why? Authors may not always meet their deadlines because they are not employees of the publisher. So editors, as peers, have a limited set of tools they can use in working with authors to stay on schedule. But authors always want to know, "When will my book come out?" (Not so subtle subtext: "the sooner the better.")
Typically the answer would be, “In nine to twelve months.” By saying it can be scheduled only when the final draft is in hand puts responsibility (and motivation) properly in the author’s hands.
Exceptions? Certainly. A big upcoming event for which the book must be available. A big-name author whose bestseller is wanted by marketing (and probably finance) for this fiscal year. But those should be exceptions, not the rule.
That’s just one idea for trying to deal with the scheduling dragon. Any other good ideas out there?
Posted by Andy Le Peau at 9:45 AM