I Wrote the Book on Editing. (I Had Help.)

This blog has gone unrefreshed for far too long now, but your correspondent has not been idle. For much of the past couple of years I have been putting together--editing and partly writing--the book whose cover you see here: What Editors Do: The Art, Craft, and Business of Book Editing. It was commissioned by the University of Chicago Press, the publisher of the venerable and indispensable Chicago Manual of Style, and they'll release it in October. (Feel free to preorder it now!)

It seems ironic that for those who are interested in going into the book business, or those outside it who want to understand it, there is a dearth of published guidance about how editors do what they do, or why, or what constitutes best practices in editing. There are a few very good exceptions to that statement, most notably the late Gerald Gross's essay collection Editors on Editing, first published in 1962, updated twice since, and still in print. I read the second edition avidly when I got into publishing in the early 1980s, and it is still well worth reading, with contributions from many accomplished (in some cases legendary) editors. But EoE was last updated in the early 90s, before Amazon and the internet, among other factors, transformed the industry. It was long past time for another crack at the subject.

What Editors Do is the result. I'm very grateful to the stellar editors, agents, and other experts-- 27 in all--who answered the call to explain the many and varied roles that editors play in connecting writers and readers. The contents cover a broad swath of the publishing industry, including academic and reference publishing as well as trade, children's as well as adult, genre fiction as well as literary. And because self-publishing has become such a vibrant segment of the marketplace and so important for authors, it addresses what happens when authors become their own editors.

In the coming weeks and months, I'll be posting some material from and about the book here. For now, in the hope of whetting your appetite, here's the table of contents and list of essayists. (Click on the images to enlarge.) For further description, see the publisher's catalogue page, or watch this space.

 

Self-Publishing Is the Route to ( ) Success ( ) Failure [Check One]

The literary agent Nathan Bransford, who writes one of the shrewdest and most entertaining blogs about publishing, recently had an excellent post on a much misunderstood topic: just what publishers actually do for authors. (In brief: a lot.)  With the increasing ease of self-publishing in an e-book marketplace; prominent authors dropping their publishers to sell their work themselves, the question of whether and how publishers "add value" to an author's work certainly calls for discussion.

It's a big subject and I'll attempt to tackle it in future posts. But I encourage anyone interested in it to read Nathan's article, and also the comments thread. What particularly struck me there was reports from two different commenters about their diametrically opposed experiences of self-publishing. Author A writes:

Self-publishing is a difficult road to take. As an experiment, I uploaded two short works to Amazon and made them available in the Kindle store. I designed the covers, did the editing, and the layout design and html code juggling that needed to be done in order to get them looking right. And let me tell you, after all of that, the time you have to put in to promote your work is exhausting. And there aren't many ways to do it successfully. The grand total of copies sold thus far (after several months)? Somewhere around 14. Four of which were to relatives. 

A sobering tale. But scroll down a bit further and read this from Author B:

I was very fortunate. After being rejected (but almost making it!) by traditional publishing I let my book set on the hard drive a couple years. Then Kindle store came along and Bezos offered to e-publish my book for free. With nothing to lose I used the digital text platform interface (very easy) to upload my book. I created a cover from a beautiful photo taken by a friend. My book has sold over 5,000 copies, and continues to sell at a brisk pace. I've added more books, and I have a nice monthly income.

What this author said that really surprised me was this:

I don't have a blog, don't use Facebook, have never twittered. I don't even use my name on blogs (like this one). My books sell very well and I'm making more money than I ever imagined, thanks to 70% royalty on Amazon. Marketing is not necessary. 

Even though they report completely opposite results, both of these stories illustrate the same fact about self-publishing: as I have said elsewhere, the skills involved in writing a book are utterly different from the ones necessary to flog it to the buying public. A writer capable of creating a wonderful book may have no aptitude--or as author B's comment suggests, no interest--in networking with readers, flacking her product, etc. That's where publishers come in.

True, Author B is doing just fine without publishers, thank you very much. I take my hat off this to this person who has figured out how to write books that sell without marketing. I'm not sure what big conclusions you can draw from these starkly different stories, although I believe that the experiences of author A are probably more typical of self-publishing. But as I know all too well, many authors have had almost equally frustrating experiences with major publishing houses. And some books truly will sell without marketing, sometimes on the title or even a jacket image alone. Of course, I can't help wondering, if author B's book had come out from an established publisher, and had a creative, energetic marketing push behind it, might it have sold 50,000 copies, or 500,000 instead of 5000? Several titles come to mind that were successfully self-published, then were picked up by major houses and transformed into blockbusters. (For instance, the authors of The One Minute Manager sold 20,000 copies of their book themselves--pretty impressive. But after William Morrow took it over, it went on to sell 20 million.)

None of this is to say that self-publishing may not be viable and even preferable, for some authors, to the old-school method. But when it comes to reaching the largest possible audience, a HarperCollins or Random House, with its marketing expertise and massive distribution apparatus, still offers something pretty powerful.