Three Things Readers May Not Know About Being An Author - Kara Isaac

It has been just over six months since my debut novel, Close To You, released and a month since my sophomore novel, Can't Help Falling, came out. While this (in no way!) makes me a publishing veteran, I thought I'd blog today on some of the assumptions that some of my friends/family/readers have made about having a couple of books out there in the big wide world (and that I myself had before this new adventure!).

**I should note that the below are only for authors published by traditional publishing houses. Some of the below are very different for independently published authors.**

Before we continue, I should start by saying this is not a whinge. I love being an author, I love working with an amazing publishing team, I love interacting with readers and being able to give away books and all the other unexpected amazing things that come with this adventure. These are just a few things that people have been surprised by when I've told them that I thought may be of interest to others :)

We have no say (or control!) over price
Every now and then I'll get a message from a reader wanting to know when my book/s are going to be on sale for $1.99 (or better yet, free!) or someone will ask me why it is X price at one retailer but Y price at another.

Honestly, honestly, honestly, we have no say over what our publisher charges for a book, or what the distributor then charges for a book, or what a then retailer charges for a book. I've seen the paperback version for Close To You priced by retailers from $19.07 (NZD) up to $36.00 (NZD) and everything in between and I have no intelligence as to why any are priced the way they are!

We also have no say as to whether a title goes or e-Book sale, when it goes on sale or what the price is. Simon & Schuster put the Close To You eBook on sale for $1.99 the week before Can't Help Falling came out. Which I was absolutely thrilled about because one of the best ways to have new readers take a chance on you in the current environment is by offering it at the big discount. But I wasn't part of that decision, I was told about it after it was made and then used all of the channels I had available to me to try and spread the word.

Good reviews in publications do not necessarily equal good sales
With Close To You I was fortunate enough to receive a favourable review in a magazine in the US that had a circulation of over two million people (TWO MILLION PEOPLE! I thought I'd hit the author jackpot!). With Can't Help Falling I was blessed that it was named an October Top Pick by RT Book Reviews. Both were huge honours but I've also heard comments from people assuming that they resulted in books selling like crazy and so whether they bought it or not wasn't going to make any difference because I was already riding high on great sales numbers.

As much I would love this to be true (oh, so much so!), turns out it doesn't work that way. That magazine with the two million distribution? When I compared sales in the four weeks before the magazine came out and the four weeks after, the weeks after saw a sales increase of 28 books. Total. The day you see an author on the New York Times Bestsellers list or read that they signed a six or seven figure deal on their next contract is the day you can assume they're all good. Before that, I promise you every sale does count :)

We don't have access to limitless number of author copies to give away
My contract gives me fifty author copies for free, to be primarily used for promotional purposes. Of those five I held back for family (parents, grandmother, mother-in-law, sister and, strangely enough, one for my own bookshelf!). Another five went to friends who had saved my bacon somewhere in the writing process - either by being early readers, helping create promotional material, babysitting my kids so I could write etc. The other forty? Almost all are committed to giveaways before the book was even released via GoodReads, Facebook, guest blog posts or interviews, promotional giveaways with other authors etc.

Once those are gone, I have to buy them. While I could access them at a steep discount from my publisher, because I live in New Zealand by the time I also cover the cost of shipping them from the US plus the taxes that I incur importing them it actually ends up cheaper for me to buy my own book from a place that offers free shipping like BookDepository.com at their full retail price and have it dispatched from there. I'm 99% sure I'm their best customer for my own books :)

What about you? Were any of these things a surprise? Any other questions you'd like to ask me about life as a traditionally published author? There is the winner's choice of a copy of Close To You or Can't Help Falling for one commenter (please leave an email address if you would like to be in the draw so I can contact you if you win!). Entries close midnight, Sunday 20 November (US CST).

Kara Isaac lives in Wellington, New Zealand. Her debut romantic comedy, Close To You, is about a disillusioned academic-turned-tour-guide and an entrepreneur who knows nothing about Tolkien who fall in love on a Tolkien themed tour of New Zealand. Her sophomore novel, Can't Help Falling, is about about how an antique shop, a wardrobe, and a mysterious tea cup bring two C.S. Lewis fans together in a snowy and picturesque Oxford, England. When she's not working her day job as a public servant, chasing around a ninja preschooler and his feisty toddler sister, she spends her time writing horribly bad first drafts and wishing you could get Double Stuf Oreos in New Zealand. She loves to connnect on her website, on Facebook at Kara Isaac - Author and Twitter @KaraIsaac   

Paths to Publishing 1: Trade Publishing

By Iola Goulton

Happy New Year!

The New Year is traditionally the time when we make resolutions about what we are going to achieve in the coming year—perhaps lose weight, exercise more, read the Bible and pray more, read more books.

For those of you reading this, a writing blog, resolutions might include write a book or finish a book or publish a book (do I see any hands?). For others, the resolutions might be more around marketing, to make 2016 the year when you finally start a website, a blog, a Twitter account, a Pinterest page. Or maybe the resolution is to reignite the existing accounts and actually DO something . . .

Australasian Christian Writers will be covering all these subjects (and more) in our Monday craft posts this year. But we’re going to start with the beginning of the publishing journey. Over the next four weeks I’m going to look at the four main publishing routes:

1. Trade Publishing
2. Small Press Publishing
3. Self-Publishing
4. Co-operative Publishing

We’re going to begin today with the granddaddy of them all, trade publishing.

Trade Publishing

Trade publishing is the industry term for a traditional royalty-paying publisher (although you may see self-published authors refer to trade publishers as legacy publishers).

Under the trade publishing model, an author writes a book, and a publisher purchases the rights to publish and sell the book in specified formats (e.g. hardcover, paperback, digital, audiobook) and in specified locations (e.g. the United States and Canada, Australasia) in a specified language (e.g. English).

In return for the specified rights, the publisher will pay the author a royalty on the sale of each book (which is expressed either as a percentage of the recommended retail price, or as a percentage of the actual selling price), and may also pay an advance. A publishing advance is similar to asking the boss for an advance: it is an up-front payment which will be credited against future earnings (in this case, royalty payments). An author who gets an advance won’t get any other payments from the publisher until the book has sold enough copies that the royalties on the sold copies equal the advance payment made. In publishing terms, this means the advance has “earned out”.

For many Christian fiction authors, this is the publishing dream: a contract from one of the major publishers, whether a Big Five imprint, or one of the major independent publishers operating exclusively within the Christian fiction market. These are probably are the publishers who publish your favourite Christian writers, authors like Irene Hannon, Karen Kingsbury, DiAnn Mills, Tracie Petersen or Susan May Warren. These are the paperbacks you see in your local Christian bookstore, online at Amazon or Christian Book Distributors, and in large print hardcover at your local library.

The big publishers publish four or more fiction titles a month. They have beautiful covers. The books are well written and well edited. The authors have pretty websites, and the Amazon pages are full of glowing reviews (often because the publishers have included an expensive blog tour as part of the book’s marketing package).

It’s easy to see why any Christian fiction author would want to be published with one of these companies. It’s a sign you’re a ‘real’ author; you’ve made it.

But there is a down side. While these publishers produce four or more fiction titles a month, that’s only a tiny fraction of the titles submitted to them, and most of their books will be from established authors. They may have as few as six slots in their annual publishing schedule for novels from a debut authors.

And few (if any) will accept direct submissions from authors.

It is generally accepted that the best route towards a trade publishing contract with a larger publisher is through a recognised literary agent who is active in the relevant market—for Christian fiction writers, this means a reputable agent who is active in the CBA. Many smaller presses accept submissions directly from author, which makes it important for the author to know what differentiates a quality small press from an amateur, or worse, a vanity press masquerading as a “traditional publisher” (which we’ll cover in a future post).

Next week, I’ll be back to look at small presses: trade publishers which don’t require an agent. In the meantime, what questions do you have about traditional publishing?

About Iola Goulton

I am a freelance editor specialising in Christian fiction, and you can find out more about my services at my website (www.christianediting.co.nz), or follow me on Facebook (https://www.facebook.com/christianediting), Twitter (@IolaGoulton) or Pinterest (http://pinterest.com/iolasreads).

Those interesting writing questions

To mark the release of my latest novel, The Inheritance, a few weeks ago, our senior pastor was gracious enough to interview me in our morning service, after which I offered my new book for sale—kind of like a ‘mini-launch’ just for the folk at our church. In the interview, I even managed to sneak in a little plea for people to look for books by Aussie (and NZ!) Christian authors at their local Christian bookstore!

I enjoyed chatting to people as I sold my books, but just as I was packing up, a rather intimidating lady approached me.

‘When you have a moment, I’d like to ask you something.’

I hurried to finish what I was doing, wondering what her question would be. Had she objected to something I had said in my interview? Did she not like the idea of Christians writing novels? I was ready for just about anything.

Eventually, she drew me to one side.

‘I’d like to ask you—how do you write a book?’

Just a simple little question! I tried not to look too shocked and hoped my mouth wasn’t hanging open. I have been asked this question before, especially during bookstore appearances, but this time I couldn’t think how to respond. You see, this lady seemed well educated and very articulate. Was she really expecting me to give her a comprehensive response then and there?

In the end, I decided to ask a question of my own—several, in fact. Was she interested in writing a book herself? If so, what sort? Would it be for her family or for a wider audience? Had she begun to write already? Did she enjoy writing?

As we talked, I discovered she wanted to write her own life story. I offered to give her some notes I have available on topics such as getting started in writing and getting published. I recommended a couple of books on the subject. I suggested she write letters, journal entries, brief articles—anything to stretch her creative writing abilities. I told her about a Christian writers’ group nearby, but she did not seem interested. On top of that, she does not use a computer and was not keen to learn.

Then came another abrupt question.

‘Well, I actually wondered if you’d write it for me.’

Hmm. Was this her real question all along? Was she hoping I would jump at the opportunity? Perhaps you have received similar requests and, like me, have had to turn them down. I have too many books of my own waiting to be written at present—and, apart from that, I am in the middle of a very busy period of promoting my new novel. I could see this lady did not appreciate all this, however, and I felt mean disappointing her.

How would you have responded to this lady’s first question? Had I been less busy, I could perhaps have offered to meet with her and talk more about it. After all, many authors have answered my inept questions about writing over the years. Is there a better or more gracious way to help such people? What do you think?

Jo-Anne Berthelsen lives in Sydney but grew up in Brisbane. She holds degrees in Arts and Theology and has worked as a high school teacher, editor and secretary, as well as in local church ministry. Jo-Anne is passionate about touching hearts and lives through both the written and spoken word. She is the author of six published novels and one non-fiction work, Soul Friend: the story of a shared spiritual journey. Jo-Anne is married to a retired minister and has three grown-up children and three grandchildren. For more information, please visit www.jo-anneberthelsen.com or www.soulfriend.com.au.