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 |  This is a continuation of my blogging here at WdC |
| Small Press Publications For many of us who want to go the traditional publishing route, small presses are the place we start. Usually with a few short stories, maybe eventually even a novel, the short presses are great for a writer’s CV. Many writers look down on small presses as a poor relation to the major magazines or the Big-5 Publishers (Penguin Random House, Hachette, HarperCollins, Macmillan, Simon & Schuster) and refuse to have anything to do with them, but I feel that is overlooking some positives. I think they can be a rewarding venture. The positives – you will learn to work with an editor (usually), you have publication credits. The negatives – they can take a long time, they may disappear without warning. But I have been using them for a very long time. However, small press markets can be as cut-throat as any of the large publishing houses, and they will be as fussy as all-out. They have to select not only the highest quality works, but also those with the highest marketability. A small press cannot afford to have a publication not sell: they simply do not have enough product to support a work with flagging sales. So be prepared for rejections. Maybe a lot of rejections. Anyway, look for these things: 1) Research the press and don’t be afraid to ask the opinions of others. Some small presses and/or their owners have a bad name. I would recommend, before anything else, do an online search. Preditors and Editors sites are important, plus look at writing forums, even Reddit. Nothing like listening to the people involved at the ground level – the authors with previous experience. 2) They may not be all they claim. There are two parts to this. First is that a number of hybrid publishers hide themselves behind the veneer of a small press. Make sure you know what they expect of you. If they demand money for anything, they are a hybrid publisher. Second, things may not be all they seem. I have appeared in some appallingly editing anthologies. Then there’s this anecdote: A friend of mine had a novel published by a small press. Despite going over the galley proofs beforehand, when the novel was finally printed, a large number of typos were found. And the thing is none of those typos were in the galley proof. So, yes, she has that first novel but it may not look as professional as it could. Hopefully, if you do ask questions and find out the reputation of a small press, you can avoid this. 3) Understand the policy of editing and editors. Following from that is the concept of ‘editing’. While some editors do marvelous work, there are a few horror tales out there. In 2012, one editor, from Undead Press, was getting written about a lot for not only changing stories, but even changing the endings of stories. Make sure you know what their in-house editor will do. Also, make sure they have an editor. I was in an anthology where we were expected to self-edit or pay for an editor, and the book ended up looking amateurish. 4) Read the small print and understand what it all means. Editing should be in the contract, however. And that means read the contract top to bottom. Especially the small print, the little clauses, the phrase thrown in. If something doesn’t make sense, ask for clarification. One very important aspect to know is rights. How long do they have the rights for? What rights are they asking for? Most small presses are quite good and have a standard 12 months exclusive print and electronic rights, after which you get the rights back, even if the original book is still in print. However, a few have 12 months or until the book is taken out of print, which ever is longer. This can prove to be an issue because e-books are, notionally, never out of print. If in doubt, I would say seek professional advice here. 5) Check how much they pay. Small presses do not pay a lot. It might even be nothing (“for the love” or “for exposure”). Some say don’t go there, but I did a few at the start of my career, and they helped me get paid later on because I had a CV. Some will pay a token amount, say $5 a story. Some you will get a free e-book, maybe a free paperback. A few pay a percentage of royalties based on word count. A few have started paying a per word amount – 1 to 3 US cents a word seems to be the norm, though up to 5 or 7 cents is becoming more common. Even pro rates can be available if the publisher is doing well (8 to 10 cents a word). 6) See where the company’s books are available. Find out all the places where their books are available, especially if they option a novel. For example, there are a few small presses where the only place to buy the books is their own website. It is said that if a publisher does not sell on Amazon, then avoid them, but that can be unfair. While Amazon does give a wider base of viewers, you are fighting with everyone, from the Big-5 to self-publishers. But distribution should be wide or marketing extensive. To finish. Small presses are not for everyone, but they are out there and give a nice entry into the world of being a published author. There is a little bit of money available, there are opportunities to hone your craft while getting published and there’s always the chance to make a small name for yourself. And we are, after all, in the business of writing, so why not make the most of the available opportunities? Just read the contracts carefully … and make sure you have a thick skin. |
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