The APP Approach to Publishing an Author

You would be forgiven for thinking that the first time an author and APP meet is when a manuscript has been read and we wish to publish the novel. Not a bit of it – by the time contracts are signed, APP and author have been working together for at least a year.

Mark Cheng who penned Father Paul’s War first sent in his manuscript over a year ago. Although the story was strong, there were elements that needed strengthening.

Mark agreed to make the changes to the novel which took him a further year to complete. APP then asked Mark to submit his manuscript to our Literary Consultant who would prepare a written critique. This is designed to hone work for publication and avoid plot, narrative, and character flaws.

Similarly with our next author John Franks we discussed issues of approach and narrative in his novel Watersmeet which took him a year to refine. Following the critique by our Literary Consultant further changes were made until the novel was deemed fit for publication. All the while author and publisher find their relationship deepening. Trust and mutual respect builds between the two parties and they begin to work together as a team.

We still meet regularly with our previously published authors Carolyn Pertwee and Ian Phillips who submit many ideas and / or manuscripts for their second novels, confident that they will receive an honest appraisal. The author wants to write something that he or she is pleased with, and the publisher wants to publish something that sells! Often this can lead to tensions, but at the end of the day no author wishes to publish a novel that does not have a fighting chance of success. So commercial imperatives will always prevail!

APP likes to be honest with our authors (especially when we reject a manuscript), since we know the time and effort it will take to publish a novel with no guarantee of commercial success. When we do sign an author the hard work starts in earnest, since they now have to submit their work to a professional editor who will go through the manuscript in a detailed and forensic manner – querying, checking and challenging.

And publishing the manuscript is just the start, but more on that in my next blog…

Janet Weitz

Publishing Director & CEO, Alliance Publishing Press

www.alliancepublishingpress.com

Author John Franks has signed a contract with APP to publish “Watersmeet” a literary fiction novel set in pastoral England before the Industrial Revolution. Jo James, marketing director APP, says “John has absolutely tapped into the current trend in Literary fiction today –and we believe this enchanting and haunting story may catapult John into the best-selling charts.”
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Author John Franks has signed a contract with APP to publish “Watersmeet” a literary fiction novel set in pastoral England before the Industrial Revolution.

Jo James, marketing director APP, says “John has absolutely tapped into the current trend in Literary fiction today –and we believe this enchanting and haunting story may catapult John into the best-selling charts.”

Never underestimate a good party

At APP we believe in throwing a launch party for our authors to celebrate the publication of our titles.  ‘Why?’ I hear you ask.  Well, there are several reasons.

The first is that it’s always good to let the author know that you’re as happy and proud to be publishing their book as they are (well, almost).  A launch party gives the author a chance to invite along friends, family and supporters to a celebration of their achievement.  It gives everyone a positive feeling about the book, and provides a platform for both author and publisher to say a few words.

These might be words of thanks, of appreciation or of inspiration.  The author might tell us a bit about why he or she wrote the book, and give us some behind the scenes gossip about the tortuous process of writing.  The publisher might tell us what a joy (or nightmare) the author has been to work with, and what plans there are for the book now that it’s published.  But whatever words are said, it’s a moment to reflect on the book itself, and the process of how it came to be.  Filming the speeches can also give us some great content for our website, which our authors can use too on their own sites.

There is of course another reason to hold a launch party.  Sales.  These same friends, family and supporters are the ideal market, and a captive audience to boot.  We tend to joke that they don’t HAVE to buy a book, but the doors are locked and they can’t leave until they do.  These are the author’s greatest fans, and they’re usually very keen to support (providing you remind them that that’s what they’re at the party to do).  And of course one can remind them of the value of great reviews on sites like Amazon and other book blogs – and how much we (and the author) value their support.

So apart from the feel-good factor, sales and reviews on Amazon, why else hold a launch?  Well, it’s a great way of forging links with your local bookshop.  High street booksellers are struggling thanks to the internet, but this is one way we can help push some sales their way.  Yes it means we lose the retailer’s cut on the sales, but it’s desperately important to help the bookshops that remain, otherwise they’ll be gone for good – and that would be a tragedy.  They are usually delighted with the sales, as people attending almost inevitably buy other titles as well as the book you’re launching. 

The final reason to hold a launch party is to gain some press coverage.  It doesn’t always work, but inviting along the local press is a great ‘in’, and gives you an excuse to contact them regarding an interview and review for the book as well.

So there we have it – sales, reviews, press coverage, bookshop links, and most important of all, a celebration.  All good reasons for having a party!

Jo James

Marketing Director, Alliance Publishing Press

www.alliancepublishingpress.com

All ‘Brown’ and ‘Grey’ in Literature today?

Women have always been good at writing pornography.  Pauline Réage’s book The Story of O was not only a bestselling novel, it was also made into a successful film; and Anaïs Nin specialised in soft-porn/erotica.

But what has now facilitated mega sales for authors such as EL James and her book Fifty Shades of Grey, is of course the e-reading platforms.  It’s not merely a case of being easy to download – but anonymity is maintained thanks to the ability to be reading the most salacious piece of literature within the technological ‘brown paper bag’.  As you scroll down your kindle on the tube, who is to know what filth you are diving into!

Many years ago when Lady Chatterly’s Lover by DH Lawrence was the subject of a pornography trial, those of us that were brave enough to read the book openly were treated to  stares of disapproval or downright hostility.  But all that has changed now that we have the technology to be as dirty as we like with relative ease and privacy.  Are we becoming a world of sleazeballs with pornography still the biggest activity on the net?  Is the literary world now following suit and bowing to the cash till rings of techno porn?  And if so does it matter?

Well yes it does.  I think it is all part of the slide into degrading and devaluing behaviour – all too pervasive in today’s society. We seem to worship at the altar of cash and profit irrespective of how it is achieved.

Don’t get me wrong, I have nothing against pornography – in its place, and discreet. But the minute you bring it to the high street and onto laptops, you have a slide not just in morals and values – but also in appreciation of good literature. Sex, money, power and greed – all good stuff to hasten our decline as a civilisation?

Janet Weitz

Publishing Director & CEO, Alliance Publishing Press

www.alliancepublishingpress.com

Guardian gives thumbs up to reader reviews

Well its official – at least according to the Guardian!

 It appears that the reading public is just as capable of reviewing a book as the professionals. And if you don’t believe me then just take a glance yourself at the rich and varied way customers have been inspired to review a novel they have just read.

Our two latest authors have between them garnered 32 reviews – and that number is still growing as more are posted!

I am amazed and humbled by the time and care that has been taken to write a review.

No simple ‘I liked this book’, but deep and thoughtful analysis that would pass muster in any national book review column.

I touched on this before in one of my previous blogs – that we are becoming more involved and democratised in the book buying and reading process. We feel we can make a difference by joining the debate about a book we have read. And what a joy it is to discover an author that has not been ‘rammed down your throat’ by the large publishing houses and their big marketing budgets.

Loading up video content onto websites and You Tube gives an author and publisher a presence that they would not otherwise be able to afford in the global market-place we find ourselves in. We write, read and publish for the shared pleasure of the process, as well as the books themselves.

Most authors (and publishers) will not gain serious financial reward for their efforts, however, measured in creativity and shared effort we are rich indeed!

Janet Weitz

Publishing Director & CEO, Alliance Publishing Press

www.alliancepublishingpress.com

How might a first time author go about encouraging some (very) early sales of his or her new book? Well, Ian Phillips did it by being a dab hand at speech writing. Here he is in action at the local launch of his debut novel Grosse Fugue at Waterstones, Hampstead. A word to authors everywhere: this is how to win over your audience before they’ve even got their hands on your book!

Editing and Proofing - the facts

Every author whose manuscript I have read has always prided themselves on their copy being well written, laid out and punctuated.  Technology allows for this – and in the main it is so – but nothing can beat the human eye of a trained editor or proof reader.

However there is a lack of understanding as to the difference between an editor’s and a proof reader’s function.  A good editor will take a reasonable story and with judicious editing and skill turn it into a much sharper and better piece of writing.

They will check for repetition of language, appropriate use of vocabulary and construction of sentence, and question and query anything of a factual nature to make sure it is accurate.  This is a highly skilled process since the editor must be mindful to respect the author’s voice, suggesting changes that are consistent in style and language with the author’s writing. 

All good editors are very well read so that they can quote previous books and reading experience to back up their views.  Choosing the right editor to suit an author is key to the success of the process.  There needs to be mutual respect and ‘buy in’ to this very delicate task.

These days many authors have had their work lightly edited or critiqued by their writing tutor and have gone away and changed/honed their work.  This is not a very challenging process and is no substitute for rigorous editing which can be painful to everyone concerned.

However to believe that after the editing it is ‘job done’ is also a mistake.  Authors, editors and publishers may pore over a manuscript countless times –and believe that between them all they have ‘got it right’.

But they are wrong!

A proof reader has a forensic eye, but has not the slightest interest in the meaning of the text.  He or she is looking for missing full stops, commas, double spaces, typos, literals, split infinitives and spelling mistakes.  They are the grammar Nazis, and boy do we need them. Trust me, they are picky and very, very good!

Every book should be professionally edited and proofed.  These two different and complimentary processes make a good book better and a mediocre book readable.

We will not publish an author’s work unless they agree to both.  It saves a lot of heartache later when a friend points out a typo in the printed book!

Must go – have to send this piece to be edited and proofed before it is uploaded.

Janet Weitz

Publishing Director & CEO, Alliance Publishing Press

www.alliancepublishingpress.com

Authors as Entrepreneurs

Our business model for would-be published authors is one of collaboration and co-funding on certain aspect of the process. We also share the rewards more equitably. The model only differs from traditional publishers in that we ask for support in initial cash outlay. All authors have to earn back the money spent on them – after all, advances are only against future sales, including publishers’ overheads. APP’s publishing model offers a potential 50 % split on sales instead of the traditional 14% royalty.

Now this is very seductive, both for authors and for us, because we are working together as partners, so the author enjoys greater input during the design process and marketing initiatives. And in the main it is successful. But this would not suit all authors – only the more pro-active.

First of all, an author has to make a big shift in attitude towards his or her work. If books are to sell they need to have strong commercial appeal, and if an author cannot step away from their work sufficiently to see where it needs honing, then too much emotional energy will be wasted fighting battles just to get the book ready, never mind the real task of marketing in such  a crowded marketplace.

And if an author feels the need to explain every nuance or thinking behind a piece of writing that is not coming across then again this process is not for them – or the publisher!

So lesson number one: are you ready to let your work be professionally edited, then re-edited and probably re-edited again, with lots of work for you along the way? The next question is how much do you want to impose your ideas about jacket design, author biography and book blurb, or how much are you willing to listen to the professionals and work collegiately to design a book that addresses everyone’s objectives?

Thirdly, how much are you willing to participate in the marketing process yourself?

Just because you have written a jolly good book doesn’t mean it will sell by itself. All the major publishing houses put shed loads of money into marketing – that is where the budget is spent. That is why they are very selective about which book they will promote, even if they have published it! Posters on buses, adverts in papers, articles, interviews, reviews, special deals with bookshop chains, heavy discounting in supermarkets and of course, latterly, viral campaigns. All these cost vast sums of money. And then there are readings, appearances, festivals, talks etc. – all designed to raise profile for the author and their book.

At APP we are very professional about our publishing business – we know the book trade and we know our literature, we understand commercial imperatives and the role authors must play to help the process.

Digital technology has opened up this sector to all and sundry – from Amazon through to Lulu. The publishing model has changed forever, which I find rather exciting. And so do the authors we work with. They feel involved and energised, even if they have had to swallow hard when asked to revise their work!

However, one thing remains absolutely constant. You have to start with a good manuscript, or at least one with potential to be good!

So are you ‘up to and for’ it – as author and entrepreneur?

Janet Weitz

Publishing Director & CEO, Alliance Publishing Press

www.alliancepublishingpress.com

Let’s Get Creative

So with the editing process done and dusted it’s time to send the manuscript down the line to APP’s Creative Director, Mark James, who’s answered some questions about his work.

Q: What sort of things do you take into consideration when putting together a jacket design for a book?

A: Everything from the flavour and tone of the story (or content in non-fiction) to the proposed target market, and even the competition. The design also needs to be adaptable for promotional materials used in support of the title.

Q: Apart from the jacket, what else is the designer responsible for in the publishing process?

A: The designer can also be responsible for the interior layout and base style of the title. This is particularly true of non-fiction with photography and illustrational content, as each page has to be individually designed.

Q: Tell us a little about the way you work. Do you work with computer software exclusively?

A: First job is to read the base manuscript and decide on the tone and target market – rough sketches are made at this stage to flesh out suggestions or ideas. Next is to filter these initial ideas to find some graphic or typographical ‘elements’ that reflect or hint at the content but still keep that flavour and tone. Once a suitable base design is found this is worked up into proof artwork, with many decisions made along the way on both typography and image content until a final solution is resolved.

Q: Can we really judge a book by its cover?!

A: A good cover design is there to not only entice a new reader, but also to also hint at the content. It is primarily a marketing tool to show the title in its best possible light and gain attention. This may reflect the quality of the story but, as with many things, our experience of literature is very subjective. It is ultimately up to the individual to judge by their own personal parameters.

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