MSI Press Blog

  Our most purloined book is How to Improve Your Foreign Language Immediately by Boris Shekhtman. I find it on various sites, completely stolen in spite of \evident copyright (and often no way to contact the thief to send a cease-and-desist letter -- hopefully, some of the publisher associations working on this issue that plaques all authors and publishers will find some effective solutions). Usually a bad copy, i.e. heard to read. Our most popular book is How to Improve Your Foreign Language Immediately , outselling some of our books 9:1 and our next bestselling book 2:1. Are these sales numbers in spite of the purloining or, ironically, thanks to the purloining (e.g., purchasers wanted an easier-to-read copy, the purloiners brought the book to the attention of potential readers who would not otherwise have known about it)? I suppose we will never know the answer as to whether the book benefitted from or was harmed by the thefts. It will be so helpful for professional organizations t

            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 a response to the question I get from time to time from our authors: "I just got an unbelievably good offer for X in the email; should I take it?" The quick answer is "maybe." Not all unsolicited offers are scams.  How, not all offers are genuine, and some that are genuine might not be good for you and your book.  What you need to do is analyze the offer in light of your own circumstances. You should answer NO when: the offer is a scam (Google it -- or ask your publisher); Science Fiction Writers of America also keeps a list of scams and shares information through its bl

Here is some news shred from Science Fiction Writers of America that should be of concern especially to writers but also to readers. When books are stolen, writers lose income, and that makes it less possible for them to continue writing -- and THAT should be of concern to readers. Readers can help: Do not read purloined books. Find the publisher and acquire a legitimate copy.   HOW TO USE A PANDEMIC TO LEGITIMIZE INTELLECTUAL PROPERTY THEFT The Internet Archive's Open Library Project--a huge repository of scanned print books available for borrowing in various formats--justifies its existence with a novel (and disputed) legal theory called Controlled Digital Lending, which it claims allows it to create new digital editions of in-copyright books without seeking owners' permission.  In March, as the coronavirus pandemic was taking off across the world, the IA abandoned one of the key provisions of CDL to create the National Emergency Library--basically, the Open Library with rest

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 the path of book sales from launch to later one. The question that comes up again and again is why do book sales decrease, rather than increase, after the heady days of the book launch are past? While one might think and hope that a launch is just that--a platform for moving forward, too often the book launch brings the highest levels of sales with a modest or rapid dropoff thereafter. So, what gives? Sometimes, the author has put all his/her money and efforts in one basket of eggs: the launch. Once the launch is past, so are the set-aside money, energy, interest, and plans. What now? is a frequent que

  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 reviews. How do you get reviews?  How should you interpret them? How should you handle bad reviews? So, let's take each question separately. How do you get reviews? There are professional reviewers. Some will review before the book is published -- they want a 3-4 month heads-up (i.e. book in hand, with a later release date). These are highly desirable. Examples are Library Journal , School Library Journal , Foreword Reviews (the free version), and Publishers Weekly . All of them accept submissions sent directly to them. (There are also otherLs; Google them.) You can put your book up on Net

  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