A Publisher's Conversation with Authors: How Publishers Decide Whether a Book Is a Good Fit

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. 

This week's conversation addresses the question how publishers decide whether a book is a fit for its publishing program. Some answers should be obvious; others not so. In short, there are two "fits" that are needed: book fit and author fit.

Book Fit

All too often, an author submits a book that should be evident will not be a fit. Often, this is because the author does not learn more about the publisher, check out publications by the author, read the description of the publisher in Writers' Market and other such sources, and/or fails to read the website of the author carefully. Here are some non-fits:

• The book is not among the lines (topics) published by the publisher. Submitting a book about sports to a publisher that specializes in religion, for example, is a complete waste of time for the author and the publisher and will get a quick rejection.
• The book does not belong to a genre published by the publisher. For example, submitting a book of poetry or short stories to a publisher that publishes non-fiction will get a quick rejection.
• The book is too short or too long. Typically, preferred lengths are specified on the publisher's website; if not, check out the length of books that the publisher has already published. Too long or too short will get a quick rejection; there are reasons that publishers have preferred lengths.
• The book is on a timely topic but will not be ready early enough to take full advantage of the timeframe. If the book is otherwise a fit, there might be some compromise here.
• The writing is not of the quality expected by the publisher. This will result in rejection but perhaps not quickly because the publisher will have to at least skim the book.
• The book has complex typesetting needs. Some publishers can handle these; others do not have the additional financial resources to do so.
• The book must be in color. Color is more expensive to print and requires a pretty high retail price, which can lead to fewer sales, perhaps not enough for an adequate return on investment. There may be room for negotiation here.
• The book is too far ahead of its time on the given topic. Too early can be good; this is a seminal work. Too early can be bad; book sales are likely to be low until time catches up with the topic. Mainly, only large publishers can take a risk on seminal works -- and want to have the chance to publish these books. Ultimately, it pays off, but that does not matter if a publisher is working on a shoestring budget as most small publishers are these days.

Author Fit

Sometimes, it is the author that does not fit. Publishers have overt expectations of authors. 

• Authors are expected to assist with marketing and promotion. Those who have no platform, no name recognition, and no viable plan (e.g., a popular blog with tens of thousands of followers, an email list of a least ten thousand subscribers, etc.) will be a drag on the publisher's resources and will likely be rejected.
• Acquisition editors also get a "feel" for authors and whether a positive editor-author relationship is possible. A fit between author and editor is essential for developing a good book. Some of the "bad" vibes can come from any of the following:
• Lack of respect for the editor's opinion.
• Rejection of the royalty structure (wants more than the publisher can afford).
• Ego...that becomes clear quite quickly. An author should not take the position that s/he knows more about the book's potential than the editor and certainly should not express this thought in condescending and/or arrogant ways. (Trust me, this happens more often than you might think.)
  
• Inability or unwillingness to take direction.
• Insistence on formatting and other matters that relate to typesetting; publishers have limitations on what they can do -- and authors are not the best source for formatting, cover design, and other book publishing matters.
• Display of a level of naivete about the publishing industry that makes working with the author too time-consuming (publishers do not often have time to "teach" authors).
• Not knowing what they don't know--but assuming that they know pretty much everything.
• Demanding (even before a contract is finalized).

Bottom line: Many factors determine whether your book will be a fit. Help to make it so by sending it to publishers that publish your topic and genre; ensure high quality writing (have a professional edit it); and be nice in general and grateful for feedback in particular (even if your book is not ultimately published by that publisher for non-personal reasons, making nice with a publisher can actually be a good thing long-term -- you never know...).

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

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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Steven Greenebaum, author of award-winning books, An Afternoon's Discussion and One Family: Indivisible, talking to a reader at Barnes & Noble in Gilroy, California.

   

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