A Publisher's Conversation with Authors: Why Skin in the Game Is Important for New Authors

 

It is Tuesday. Monday's madness is over, and Wednesday will take us over the hump, so Tuesday it is--for some serious discussion with authors. Tuesday talks mean to address authors in waiting and self-published authors who would like to go a more traditional route or who would at least like to take their steps with a publisher by their side. 

Today's post is a reaction to a communication last week with a new author, whose proposed contract we just rescinded--and why. The author had an interesting book but one that would not have broad appeal; yet, some kind of narrow niche depth appeal seemed likely or at least possible. The author had no publishing history, no platform, and no clear group of fans. This is not all that uncommon for us because we specialize in helping first-time authors edit their first books into good enough shape to win awards and gather in readers and reviews. As a result, we not only invest time, effort, and money into the production of the book, but we also invest time and effort (which is also money) in the author. We are best able to handle this kind of work through a hybrid contract, and our hybrid contracts are generous. The response, though, was quite negative and quite blunt, saying in nearly so many words, "I want you to pay all the costs of production, and I will consider buying 100 books if I can have them on author discount." This is not the first time we have encountered such an entitled response although usually we never get to the contract stage with these kinds of authors. There are several reasons--all red flags--why this response is all wrong and likely to keep the author from getting the book published with any publisher.

Sense of Entitlement

The sense of self-entitlement just dripped from the communication although it was worded politely enough. There are at least four aspects of this sense of entitlement that warns a publisher away from proposing a contract.

• The communication like similar ones we have received in the past flaunts a mantle of self-importance. I am an important author, it would seem to say, and you, the publisher, need to stand in awe of me and my awesome work. One author, clearly someone who had been rejected many times, a few years back, when offered the opportunity for a hybrid contract, wrote that "you publishers need to stop doing this and instead offer new authors traditional contracts with good advances." Now, publishers are just not going to do that with a first-time author without the experience or wherewithall to help promote the book--it is a huge risk for a publisher and no risk (just the opposite) for the author. Talk about unbalanced! No publisher is going to stand in awe of a first-time author, and publishers nearly always view a manuscript in less than than glowing way in which a new author loves his bestseller-to-be.
• Being assertive is one thing; being blindly assertive takes on the characteristics of ignorant aggression, and that is a difficult attitude upon which to try to build a relationship -- relationship between author and publisher is generally critical for a successful working relationship and therefore critical to resulting in a polished published book that will sell well. The pushback in the manner described above generally indicates an attitude whereby an author will not take critical feedback from an editor. Without that, the book is likely doomed. 
• A sense of entitlement more often than not interferes with an author's ability accurately to view the contract, which might be quite generous for a new author and quite fair, from the point of view of balanced investment from both parties.
• A response that shows a sense of entitlement also generally shows a lack of clear understanding of the value of the book-to-be. Most new authors overvalue their product; publishers usually do not and will back off from working with a starry-eyed, self-important new author.

Unbalanced Risk-Taking

Even if the author were to purchase 100-200 copies, the risk-taking is unbalanced. Essentially, all of the risk of losing both time and money accrues to the publisher. The author accrues no risk at all since purchased books, especially those purchased at discount, can be sold for a profit. Authors who assume offering to buy a few dozen books will be attractive to a publisher come across as naive.

Product Confidence

In cases where the author is unwilling to invest even a penny in the production of a book implies that the author does not believe that he or she will get his investment back in book sales. If the author has such little confidence in his or her book, why should the publisher have confidence in potential sales. For that matter, why should the publisher take on the book at all?

Author Investments

Successful books require investment by the author not only financially but in terms of continued, long-term effort and time with book promotion activities. Authors who want to risk no financial resources generally turn out to be ones who also are not willing to invest time or energy into the distribution or sale of the book. This is not an attractive proposition for a publisher.

Bottom line: Think carefully before walking away from a hybrid contract; drop your pride and sense of entitlement. It might be just the thing you need.

See more Publisher Conversations with authors HERE.

 Learn more about publishing from an acquisitions editor -- how to get your book proposal accepted, why proposals are turned down/accepted, and how to find the right publisher for your book. On special sale for $5 while inventory lasts at MSI Press webstore.

The Tuesday talks reflect real discussions between the management of MSI Press LLC and our own authors or those would-be authors who come through our doors but don't make the cut--yet. If you have a topic that you would like addressed, leave the question in the comment section. Chances are, in our 18 years of publishing first-time and experiences authors, we have had a conversation with one of our authors that we can share with you.

                             

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