For the most part, for the panels and sessions, I’m just going to be transcribing my notes, as written. I’ll attempt to offer some context, however.
After the morning writing circle and some networking time at lunch, it was onto the Halli Villegas, publisher of Tightrope Books, Christie Harkin, children’s book publisher and editor at Fitzhenry & Whiteside, and Anita Chong, senior editor at McClelland & Stewart.Panel. On the panel were
In later panels, I noted the speakers, but for this first one, I didn’t have the presence of mind to think of it. My apologies to the publishers.
The panel was called Changes in the Publishing Landscape.
- Larger publishers are finding that their biggest book-buyers are going to non-traditional (not brick and mortar bookstores) sellers to get their books (Costco, Walmart). Books are now competing with groceries (!)
- Smaller presses are going back to events, launches, readings, etc.
- Fewer stand-alone poetry books being published.
- LGBT is gaining in popularity. More mindful of the community they write for and have to market to.
- Everyone feels like they have to dance to Amazon’s tune, though that may not be accurate.
- Chapters/Indigo has a very short return policy now. Books are being returned before they have a chance to get any traction.
- Inventory control is important to the big booksellers.
- Chapters/Indigo may buy 5000 copies of a book for all their chains. Most come back (about 2/3).
- Some publishers have to increase a , or go into a second printing to meet these orders. This puts them further behind the eight ball. They’ve suffered a loss before they’ve even got their books in stores.
- All the indies order books too, increasing the pressure for a large print run. Smaller publishers are suffering.
- There is increasing specialization in publishing. No more generalists.
- What authors need to know most: DO YOUR RESEARCH! All the information you need is on the websites of the publishers.
- Go to the bookstore. Who’s publishing books like yours? Look at the acknowledgements of these books: agents and editors are often among those thanked.
- Don’t follow the trends. Erotic zombies? (LOL) . It’s not either/or but how far are you willing to go and how much are you willing to do?
- Children’s books are not marketed to children, but to those who buy books for their children: parents, teachers, etc.
- Print on demand (POD) doesn’t work in most cases. There are restrictions. Minimum print runs may still be required to break even. POD kiosks offer poor quality product. POD is not viable even at larger publishers.
- Still on POD. Short run = 250. Medium run = 250-1000. Watch how POD affects your contracts. It has an impact on what’s considered to be in print. If your rights don’t revert to you until after the book is out of print and POD technically means that the book never truly goes out of print, you may not get your rights back (!)
- Electronic publishing is better, regardless of the venue chosen.
- Publishers generally give 50% of their profits to distributors, booksellers, etc. Publishing is not as lucrative as you think. Ebooks lose only 30% (or less).
- Publishers are looking for new talent all the time.
- Unsolicited submissions can result in publication, but rarely. Same with the slush pile. DO. YOUR. RESEARCH.
- Writers Reserve from the Ontario Arts Council. $$ for writers. Publishers apply for it and use the $$ to pay their authors.
- Ask agents and publishers what they are looking for. Write to order (if you can).
It was great to see three fabulous and articulate women take the stage.
Tomorrow: Publicity and marketing sessions: Good, bad, and downright ugly.