MSI Press Blog

  It is Tuesday. Time to tall turkey. 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 topic addresses contracts -- what is a good one, what is a bad one, and what do the specialized terms actually mean? I will answer these questions in a series of posts, using, to start, our contracts, and will go through them paragraph by paragraph. Then, I will look at some other publishers' contracts for differing content. So far in this series, we have looked at paragraphs 1-7. Now we will look at paragrahs XX. At this point, it is important to know that all contracts differ, sometimes even those from the same publishing house, and numbers are not going to match. However, all contracts should have essen

  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  Today's post is a reaction to a communication last week with a new author, whose proposed contract we just rescinded--and why.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 al

  It is Tuesday. Time to tall turkey. 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 topic addresses effective communication with acquisitions editors. Does it make sense to p it them against each other? To create a sense of competition in order to get one of them to move? Here are the ways in  which authors have tried to tempt me to offer them a contract by alluding to another publisher -- and my reaction and response.  Just a note to say that the book submitted to you is being seriously considered by a United States Publisher. Please let me know how you would like to move forward. My reaction: The author comes across as pushy (trying to take the upper hand), arrogant (assuming that I would e

                                                                                                                    ( photo by Frank Perez) It is Tuesday. Time to tall turkey. 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 topic is about choosing a publisher. Of course, you do choose a publisher, but also a publisher chooses you. It is a two-way affair. So, let's take each approach separately. How do you choose a publisher? Decide what you are looking for in a publisher. Do you want a large publisher with big pockets who might be able to get your book on the NYT best seller list, give you a large advance, or get you attention from a national television show? (You better have one whale of

Today's back story is about the book, Of God, Rattlesnakes, and Okra by J Bennett Easterling . From the publisher Years ago, I received a book proposal through the mail (yeah, pre-email). It was a memoir by a first-time author without much of a name recognition and a modest platform. It did not fit into what we typically published at that time, so I sent a letter informing him of that.  Somewhere, he initiated a phone call to learn more -- he wanted to know how decisions are made, where he could look, how he should search for a publisher, and the like. He was eager to learn -- and very personable. I wished we did publish in this genre, but we did not. Apparently, Bennett formed some sort of instant trust in me. Six months later, he excitedly sent me a contract for a self-publish contract. It was not a good contract, but he did not realize that. This time, I called him. I pointed out the bad provisions in the contract. Not only had he not realized how much the contract skewed towar

    (photo by Frank Perez) It is Tuesday. Time to tall turkey. 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 topic is  about taking a self-published book to a traditional publisher in hopes of getting a contract.  At least a couple of times a month, a self-published author approaches MSI Press with a proposal to republish his or her self-published book. They all seem to think that their  poorly selling self-published book would soar to best-seller status if only a traditional publisher would take it on or that their self-published book with modest sales would not thrill a publisher by how many sales had been made or had many polite reviews simply re-stated the content and refrained from sayin

  It is Tuesday. Time to tall turkey. 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 topic addresses contracts -- what is a good one, what is a bad one, and what do the specialized terms actually mean? I will answer these questions in a series of posts, using, to start, our contracts, and will go through them paragraph by paragraph. Then, I will look at some other publishers' contracts for differing content. Last week we looked at the introductory paragraphs, mostly general information, including who is the author, what is the title, what rights are being offered. Paragraph 1 states what rights you are offering -- specifically and in detail. The next three sections spell out related under

This Sunday, we begin a new Sunday feature: the story behind our books. We will take these one at a time, on Sundays. So, if you like knowing the unknown and little known, come on by on Sundays. This Sunday the book chosen to kick off our series is Task-Based Instruction by Leaver and Willis. This book was published by Georgetown University Press and appears among the affiliated books of MSI Press by virtue of having been co-authored by an MSI Press author (me - Leaver). At the time of the writing of this book, much was available about task-based instruction (TBI) in the English as a Second Language (ESL) field, of which the greatest amount appeared to have been written by Jane Willis of the UK, often together with her husband. For Foreign Language Education/Second Language Acquisition (L2), however, only a small generically oriented spiral-bound sample of essentially one task was available, written by Michael Long, then at the University of Hawaii.  In consulting and in administerin

  It is Tuesday. Time to tall turkey. 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 topic  is book consignment. It is a valuable tool for book distribution that few authors know about. Most authors, especially new ones, assume that the distributor will place their books on bookstore shelves, and they (the authors) will sit back and collect royalties through their publisher. Yes, it works that way, but quite poorly for authors without wide name recognition, and many stores will simply not shelve their books. However, they might be willing to take books on consignment; this is when you place books in the store with the understanding that payment will be made when all the books are sold, and if