I had this conversation with one of my favorite untenured colleagues the other day, and at the end of it, s/he said: "Everyone tells you how important it is to get your book out before tenure, but no one has ever given me advice on how to find a publisher before." Shocking, but true. And this is at Zenith, where people publish a fair amount.
So this is what I said. Please add comments that are field-specific, that respond to things you see I have left out or that amend my errors.
1. Simplest advice first: map the publishing terrain of your field. Who is well known for its list and publishes books like the one you are writing? Which presses are considered desirable by others? With whom do the people you admire in your field publish? This should give you a short list of 5-7 presses on which you focus your efforts, always allowing for other presses to make themselves known to you. Go on the web, find their websites, and explore. Get a sense of which ones are a good fit for you.
2. Ask your senior colleagues at your own institution who they publish with, and whether they have an editor they like. Don't limit this query to your own department: I got to my first press, Rutgers, through a sociology colleague far senior to me, whose office was across the hall. She had an editor who she thought was intelligent and aggressive. Furthermore, when this colleague said she had been treated well by the press I took it seriously since she was well-known for her diva -- I mean, discerning -- personality.
3. Whatever presses you approach initially, get a personal connection. University presses are far more responsive than commercial presses (which aren't, unless you've got an agent, and even then....) When you write to the editor -- and you can send an email, but don't paste your book proposal into the body of the email -- mention this person in the first line. "Professor Famous thought you might be interested in my book," is something you wish to say right up front. Don't be shy. The editor will agree to talk to you (who are perhaps Entirely Unknown) *because* you appear to be a protege of Famous's, or someone who has merely impressed Famous in passing, because s/he wants Famous to come back to the press with her next book. Or s/he respects Famous's judgement and knows Famous wouldn't pass on a lemon.
4. Let's assume that two or three presses have written back and said they are interested. How do you winnow the list? One of my top categories is, who does the prettiest book? After all, you are a book lover, otherwise you wouldn't do this for a living, and it is your dream to publish. So your book should have artifact quality. This criterion is followed by, does the press have a reputation for quick turnaround and Getting Things Done? This includes the category, does the editor have a reputation for getting the projects out that s/he is behind? Then there is marketing. Do they take out a lot of ads in professional publications, the Nation's spring and fall book issues, and conference programs? Do they actually seem to get their books in stores where intellectuals shop? In other words, friend, you want to sell books -- and not just for the money, which is usually insignificant, but for your Reputation. You desperately want to be Read By Others.
Ok, so you have chosen your top press, and now you have to send them the manuscript. Make sure you --
1. Do *not* send an unrevised dissertation to a press. There is a little fad nowadays of young (and not so young) scholars sending off unrevised, or frankly rough, work to presses so that they can get free advice and an advance contract. This is advice you should be getting from your friends and colleagues, not readers for the press who are doing their work for peanuts. And this is how many peanuts we get: between $75 and $150 in cash, or double the sum in books. And it takes at least a day to review a manuscript properly. So these are sweatshop wages. Don't take advantage of us: better you should ask one of us to read your work out of the goodness of the old ticker, as Bertie Wooster would say.
2. Send a CLEAN revised manuscript. Proof it thoroughly, don't have those annoying footnotes that say things like "What book is this? Burden mbe? chk." The first time my second book went out, thinking that having been published once before earned me a little flex, I completely pissed off one of my readers who was, by the end of the review, not just angry but demoralized, and a little repentent for how vile s/he had been in the two page screed that spoke of endless frustrations with -- you guessed it -- my beautiful mind that seemed to be firing on too few cylinders when I imagined the manuscript was ready to be viewed. The other reviewer didn't seem to care, thought I was smart and worthy of his time despite the typos and occasional chronological issues. Go fucking figure. But since you do not know who the reviewers are (and guessing is a losers game) I now know that there is someone out there who thinks I am the Phyllis Diller of the historical profession. And you have more to lose -- I, after all, actually have tenure, and you don't yet.
3. DO send your revised, clean manuscript to a press before you know it is perfect (because in the end, you will have to revise it again) but send it to only one press. I have to tell you, unless you have a reputation or an agent already, making university presses compete for your first book is kind of cheesy. And the biggest bump in the advance you are going to get is maybe $5,000. And only then if you are doing something widely marketable, like gay and lesbian history, that sells like little hotcakes to gays and lesbians without Ph.D.'s. If you do insist on multiple submissions, you must inform all presses that this is what you are doing. And you should probably inform the person or people who gave you the introduction in the first place, because many people consider this practice rude.
4. Do not make an advance contract a deal breaker. Fewer presses are giving them out nowadays, because they are stupid, and everyone knows that such a contract is binding to you but not the press. As Susan Ware (who has had many book contracts) once told me, "An advance contract is like a training bra -- there's nothing in it." Say it, sister.
Need advice from the Radical? She's full of it. Send your questions to tenuredDOTradicalATgmailDOTcom. How else am I going to procrastinate?
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51 comments:
wow, how many ways can i say thank you for this sage, direct advice? i am in the process of revising diss to manuscript, so this comes at an apt moment for me. question: what advice might you have for the diss-to-book revision process? the advance contract bit is something i did not know at all--i will proceed with caution.
Excellent advice, sage TR. I somewhat disagree, however, about the advance contract: there may be times when it is useful currency for chairs, deans, etc.
I would also agree that it makes sense to pay attention to production values, price, etc. I will be more specific. THink about what you think the market is. If you think your book has a potentially wide readership, don't go to a press that will publish your book for 200 libraries (if you are lucky) at a price no human can afford. One colleague had to prepare camera ready copy for his book: that's HARD. When the press doesn't do copyediting, there will be more mistakes. I'm reading proofs right now, and my manuscript was in good shape, I had a careful copyeditor, I caught things at the copyediting phase that he didn't, and I am STILL finding mistakes.
Another way to find presses is to see who exhibits at the conferences in your field -- particularly the smaller ones in your subfield. Do talk to the editors. Say, "I have this book..." I got my first book published in paperback that way. Don't be shy. In the best of circumstances, you can do this well in advance, so you find out the editors who might like you before you are seriously shopping the manuscript.
Be aware that publishers change, people move from one press to another. You may choose to follow an editor or stay with the press. But pay attention to this, because these changes will affect you. Presses will suddenly decide that "We are going to focus on X and Y, but not A & B. If you do A, and have admired the presses books in A, it doesn't matter.
It's also worth trying to be clear about your audience. The downside to trade presses is that they often don't maintain a backlist -- things go out of print fast. (This has to do with the tax treatment of inventory for publishers.) So if you think your work may have a life as a reading in advanced courses, pay attention to things like publication in paperback and the backlist. I'm not talking about our fantasy of writing a best-seller. But I am still selling copies of a book first published in 1988; this is the first year I've earned less than $100 in royalties.
Isn't it funny what we don't talk about?
As a fellow historian, I'd like to add two things to your excellent post. 1) Don't be shy about talking to the people at the book exhibit at the AHA or whatever the big conference is in your field. Most of the people working the booths are editors, and it can save months of mailing around if you can talk to someone at the presses you've targeted before sending them anything. Ask them if they are interested in publishing your topic, and if they are, find out what they want to see from you. I've found that in many cases, they do NOT want to see a whole manuscript right away - a chapter will do.
Second, and this may be less relevant for other fields, consider both the price of the book and how long the publisher will hold the copyright. My first book came out through a great but very expensive European press - looks great on the cv, but will never be assigned for a course. Thanks to sage advice from my diss advisor, I made sure the copyright reverted to me after a couple of years, so now I'm talking to a couple of places about bringing out a paperback edition that might actually get read!
I agree about the advance contract -- it may vary by field, I suppose, but for History, I understand they're worthless.
One other bit of advice: if at all possible, negotiate the terms for issuing a paperback edition in your contract. My book came out in paper last year, and many, many more people bought it.
Stupid question here: what is the difference between an "advance" contract and a regular one?
Otherwise, this is a great post. There ought to be something like a "academic profession for dummies." Freshly minted PhD's often have no clue about some very basic things like this. (Or maybe that was just me, and the way my program did not prepare us for anything at all about being an academic.)
My field of history is relatively small, and I think that shapes my experience. Having a patron approach presses first seemed like a necessary part of the process, at least for a first monograph.
I got a great piece of advice, that the editor was at least as important as the press. I fell in love with my editor. Even though I'm not completely happy with other aspects of the press, I'll probably do my next book with them as well. Being able to trust your editor is important!
Oh! Also! I heartily endorse the production values advice as well. It's a real high to see your writing packaged in a pleasing physical form: nice cover, footnotes, creamy paper.
To that list I would add the following:
• Do not be shy about asking senior colleagues you admire and trust to introduce you and your idea to her editors (or editors she knows and who want someday to publish her). Editors trust the judgement of respected people in the field. They know their blurbs help sales. And editors like to do favor for authors they would like to publish.
• Understand that academic presses are businesses, but not very efficient ones. Even if you convince an editor that your work is brilliant and important, the editor must convince her marketing people and board of directors that the book has a clear and definable market.
• Therefore, never claim in your proposal or cover letter that your market/audience is a "general readership." There is no such thing. Delineate your field, the courses in which your book might appear (very important), and professional or interest groups beyond the academy that might take a liking to your work. Be realistic.
• If you are writing regionally, publish regionally -- i.e. if you have written about Western Native American history, the first places you should go are the University of Oklahoma Press and the University of Nebraska Press.
• Expect rejection. Everyone knows there are too many books chasing too few buyers and the price of production only justifies books that can sell more than 5,000 copies. Of course, too much rejection can mean career death for an academic. But them's the breaks.
• Meet editors at conferences. They love to hear quick, clean, effective pitches from authors who are excited about their projects. When the editors are sitting at tables full of books, you can get a sense of whether your project would fit the trajectory of the list.
• Start early, but be patient. If you have just started a tenure track job, do not expect to have a real book in your hands by third-year review. But do plan to have a contract and many pages ready to show your department by third-year-review. Many academic books can take four years from contract to book.
• No dissertation is ready to be a book. If you are rewriting your diss for publication, wipe your committee from your mind. Write for your colleagues and students instead.
• Course assignments matter. That's how academic presses justify many of their titles. Tailor the writing and length to course-usable standards.
• Write short. Most academic publishers want their books (especiallly first books) to be shorter than 250 pages when published. More than 250 pages, the price of the book goes up.
• Talk to librarians early and often. They know which books are likely to get picked up by their peers. They know which presses do good work.
• Do not expect reviews beyond the scholarly journals. Do not expect scholarly journal review within a year of publication.
• Double dip. Get as much of your work out in journal form as possible. That way, if something goes wrong on the way to book publication, you can demonstrate that your work has passed muster.
• Read your publishing contract carefully. Cross out the "options clause" pledging your next book to the press. Be a free agent.
Oh, one more:
• A first author should not aim for the academic press pantheon (Oxford, Cambridge, Harvard, U of Chicago, California, Yale, etc.). These presses carry huge lists every season and do not treat books by first authors with care or interest. Instead, aim for the smaller university pressses that treat their authors with care and dignity and are deeply appreciative or honored to have those books (Rutgers, NYU, Minnesota, Columbia, Stanford, Oklahoma, Georgia, North Carolina, Penn State, UMass, etc.). A good editor is far more important to a young scholar than the brand name of the publisher. A quality book from a smaller press can have a much bigger effect on the field than a sloppy book remaindered by a big press. If your first book is a success, then consider Oxford.
Excellent post. I'd add that anyone looking to publish scholarly writing should read William Germano's books Getting It Published and From Dissertation to Book - they are the "Academic Publishing for Dummies" guides that someone asked for!
I'd also recommend that when you sign a contract, retain your own copyright. Not only is it ethically the right thing to do, but it can help you if your publisher ends up running aground.
Many presses offer a simultaneous cloth/paper run, which seems quite advantageous for a first book. Remember, the goal of a first book is not to sell copies for royalties, but to first get it published for tenure/job placement, and second to have it read widely enough that your reputation rises. It's sad but true - don't expect to earn significantly from a scholarly monograph... except tenure (hopefully). So I think royalties, advances, and the like should be far less important than the reputation of the press and their ability to put out & distribute a well-made book in a timely fashion.
Finally, depending on your field, don't discount commercial scholarly presses (i.e. not university presses) - ask your colleagues & mentors about the reputations, but in my field (media studies) at least, commercial presses like Routledge and Blackwell are not viewed significantly different from major UPs. They tend to work more quickly than UPs, although they may not be as aggressive in promoting a book that doesn't have major classroom or crossover potential.
A great post and series of comments: let me add just a couple of songs of experience.
Presses have their own styles. Some, like Chicago, believe in simultaneous cloth/paper publication for a fair number of titles; others don't. Some like European or Latin American history; others don't. It's your job, as a potential author, to examine the lists, catalogs and AHA book displays, and talk to editors, and gain a sense of which presses might work for the book you're writing. You need to go about this task with the same dedicated attention that you go about your own research.
It's not just your senior colleagues who are responsible for hitching you up with appropriate editors. This is part of what your PhD supervisor should do. Advice on reshaping your MS and on appropriate places to peddle it should be part of your continued relationship with him or her. But the adviser should also be out there talking to editors on your behalf.
It's not always true that the great presses aren't interested in first books. Some of them--Harvard, for example--have endowed monograph series which are designed for first books. Authors who publish in these series may receive substantial advantages in production values, in some cases editing and in all cases exposure So even if you're placing a revised PhD, see if one of the great presses has a series that it might fit.
On trade houses: the more academic ones, like Routledge or Norton, are fine. But remember: a major trade house has to sell a LOT of copies. They may accept your book, and then press you to remove those boring footnotes and discussions of method that place your work--imagine how the senior people in your field will respond when your work is presented as a total innovation that owes them no debt--or to simplify and dramatize your thesis. These decisions may well get you more exposure in the bookshops and more newspaper reviews--but they may also earn you a reputation for being less analytical and reflective than you really are. Using a trade house can work wonderfully: but be sure it doesn't put you in a position where you might seem to be failing to meet legitimate academic standards. I've seen this happen, and it isn't pretty.
One final point: if you can afford it or if your university will pay all or part of the costs, hire a respected copy-editor to go over your MS before it goes to the publisher. These days even the great publishers give their copy-editors almost no time to go over books before they're published. In the non-academic realm, as James Fallows noted recently in a post in his Atlantic blog, articles in high-end magazines are fact-checked and edited carefully, but books aren't. The same thing is gradually becoming the norm in the university publishing world. So ask senior friends and colleagues and editors if they know a good free-lance. Believe me, you'll be glad you did.
Let me underscore that you need to stop thinking about this as a dissertation and start thinking of it as a book. When you go around to the booths at the professional associations and introduce yourself to editors, they want to hear about your book (future) rather than dissertation (past).
One commenter here asked about the difference between a dissertation and a book. One purpose of a dissertation is to prove that you know all there is to know about a fairly narrow subject. "No one has done this before" is sufficient justification for a dissertation. Not so for a book. There has to be a reason why people outside your small area of expertise should care about your topic. A cover letter saying "this book will be of interest to people who work on X, Y, and Z" doesn't do it. The work itself needs to show why it shifts our whole Big Picture.
You don't tell the editor you have a book about [specific body of sources you work on]. You have a book about [Big Issue], with [specific body of sources] as a case study, and this book's argument that [2+2=5] completely revises the standard received wisdom that [two even numbers always add up to another even number]. N.B. not just the received wisdom that 2+2 = 4; you are not just correcting one point, you are suggesting a new way of seeing the whole field.
When you go talk to an editor--or when you write to her--state the argument of the book up front. Not "my book deals with . . . " but "my book argues . . . "
Don't try to make your book seem attractive to a publisher by saying "it is in the same area as X, which you just published." That raises a red flag--if there are two books on similar topics, they may compete, and the press doesn't want to compete with its own books. On the other hand, they don't want to publish a book in an area that they just don't do--they won't be able to market it effectively. You want to position it as being in a field that the press publishes in, but as quite different from anything they've done before.
There is a pecking order in academic publishing. Find out what your university's requirements are. If they won't tenure someone who publishes with a particular type of press, then don't bother trying to get published there. If all they care about is that it's in print, then you have a wider range of choices.
All book contracts say "you will provide us with a finished MS and we'll publish it if we like it." There isn't a separate wording for an "advance contract," at least not in academic publishing--I don't know about trade. Even if the press offers you a contract after having sent a full MS to referees who loved it, you will still get a contract with that wording, even if all you have to do is fix a few typos. "Under contract" does not in itself mean anything. A contract based on a proposal is not very meaningful. A contract based on readers' reports on a finished MS is more meaningful, especially if you can provide the reports and they indicate there's not much left to do. If the press tells you that they'll put it into production as soon as you send them the final version, that's different than if they say it has to go back to readers again.
Check with senior faculty at your institution as to whether an advance contract is at all helpful. At my institution the only distinction that counts is whether a book is in press or not. "In press" doesn't mean that you have a contract; it means that you have sent in a finished manuscript and it has gone into production (copy-editing etc.) A contract means that someone wants to publish your book, but it doesn't mean that you've written it yet.
If you want your first book to be published in paperback at the same time it first comes out, you'd better have a pretty darn hot topic. The numbers are really kind of scary. The economics of academic publishing dictate that it's not worth it to the press to issue a paperback unless the book is going to sell more than about 2000 copies, but most academic books sell fewer than 1000.
Some wonderful ideas here. I agree with Anonymous 4:17 that one should talk personally with editors at book exhibits where possible, especially at regional or subfield conferences where the press's representative is likely to be the acquisitions editor.
Both Jasona and Anthony have raised the issue of simultaneous paper and hardback releases. This is a complicated issue. Here is my bried rundown:
• In general, university presses prefer simultaneous releases for most it their lists. Paper enables quick course adoption and enables more sales to graduate students. It also allows them to produce expensive and high-quality library bindings for the few hundred hardback sales to libraries.
• The exception to the simultaneous release is for those few books in the front of every season's catalogue that the press deems worthy of "trade" status.
• "Trade" status means two things: First, the press might be willing to forgoe the trade discount to get the book into the "recent nonfiction" shelves at B&N and Borders. Second, it means that the press hopes for reviews from the mainstream press. Sadly, the NYTimes Book Review will NEVER review a book that has come out as a paperback. Editors there assume that the press does not believe enough in the sales potential at $30 per copy if they also release a cheaper paperback designed to compete with the hardback. So it can't be that important to a wider audiece.
• So Jason is correct when he urges first-time authors to look for simultaneaous release. Paperbacks increase circulation and thus reviews and citation among academics. Unless you are absolutely sure your book has trade potential (and 99 percent of academic books do not) do not even dream of a Times review for your first book.
ps -- Jason is also correct to direct people to Bill Germano's work. He is a great help!
So, so, so helpful. I have tagged this for colleagues and friends with whom I've been having the same conversation. And the training bra thing is hilarious--thank you, thank you.
I just wanted to thank you for this post and everyone else for the helpful comments. A great resource!
Thank you everyone!!! It is so great to actually read about all of these considerations. I'm just a lowly dissertator now, but I hope to be at this stage soon and, to be honest, not enough people talk about the actual process and business of publishing. So, thanks again!
Thanks for this helpful post. I've linked to it on the Legal History Blog, and added more: http://legalhistoryblog.blogspot.com/2007/05/how-to-get-your-book-published-post-1.html.
Here's one piece of advice about approaching an editor for the first time:
This will sound hokey, but you only have one chance to make a first impression. Don't hold your work back too long, but also don't approach an editor before you're ready. Once when it took me a paragraph to describe an article I was writing, a colleague said, "You've got to sound bite it, Mary." The same goes for your book. If you can't say what the major point of the book is in a sentence or two, you're not ready. If you can't provide a concise summary of the book and its importance in a paragraph, you're not ready. How do you go from writing the project to pitching it? A good exercise is to take friends to lunch, perhaps friends who know nothing about your project, and explain your project to them, until you can explain it to a new person in a concise, interesting and powerful way. Then you're ready to approach editors at conferences, and to write follow-up e-mails.
Ditto on Germano's books. Excellent, experienced advice.
End I endorse Mary Dudziak's comment about practicing your pitch. In my decade as a U Press history editor, I lived through many painful conversations in the booth at AHA with young scholars who could not muster the TWO OR THREE pithy, true sentences about their work that would have caught my attention. You should be prepared to elaborate, but your opening lines are key.
The real question is: why don't more senior scholars think it is their job to discuss all this with their students? Is it somehow shameful to know the nitty gritty of publishing contracts and production values?
As an acquisitions editor at a University Press who came to this post via Siva's site, I just have to say that this is all really excellent advice. Book publishing is a tough business, and I sometimes forget how stressful and nerve-wracking it can be for first-time academic authors.
Can I add my two cents as an editor?
* Regarding advance versus full Contracts, I agree with other commenters that I wouldn't necessarily discount an advance contract. The key here is to realize that different presses treat their agreements differently. For some academic presses, an advance contract doesn't mean very much. Where I work, the University of Minnesota Press, advance contracts represent a very strong commitment from the press to publish the work. I would disgree with the commenter who basically said that all agreements are worthless -- not true! A contract is a legally-binding document and I think all presses treat them very, very seriously.
Another point for authors to keep in mind--how will your tenure committee view an advance contract from a press? I hear from authors all the time who find their tenure committees don't trust or understand what an advance contract means. I issue advance contracts not to speculate on authors but to ensure there's a mechanism in place (the final review) to ensure scholarly standards.
* Simultaneous versus hardcover publishing...if having your book come out in paperback is important, ask your editor to add language guaranteeing this into the contract.
* The option clause. I don't think it's a bad thing at all. I rarely add option clauses to contracts, and if I do it's because I really believe in an author and want to work with them again. No editor is going to play hardball on that if you decide that New Press should do your next book instead of a university press. Take it as flattery.
* Short books! How many printed pages does your double-spaced manuscript translate into? Here's a VERY rough rule of thumb I use. Take the total word count (including notes) and divide it by 450. Then, add ten to that number and you've got a rough, VERY ROUGH idea of how many printed pages your manuscript equals.
TR -- I've been meaning to comment on this for awhile. Most of what I was going to say has been said, but I still have three points to add.
1)You *can* send multiple query letters or proposals (not whole mansucripts) to multiple publishers, and I see nothing wrong with that. It's not about making publishers compete, but about turn-around time. If you're a jr. prof. and tenure's coming up, and your time is limited, there's no reason to do it one at a time. BUT, once a publisher wants a whole manuscript and wants to send it to a reader, then they're investing serious time and money in you and it's like journal submissions -- you can only go with one at a time at that point.
2) If your committee won't read your work anymore -- if they feel like they've done their job (as mine did) -- and you don't have relationships with people in your (sub)field who'd have informed opinions of your work, use the books in your field you've liked as models. (This is in addition to Germano's how-to books.) How are their books formally different from your dissertation? If they're a young scholar and their book is based on their dissertation, order a copy of that diss and compare the differences between diss and book!
3) I just want to reiterate what others have said about those commercial presses with academic lists (Routledge, Palgrave Macmillan, etc.) and about advance contracts (especially as discussed in the comment before mine). But do see what your own instition's expectations are first. I have friends at snooty places where nothing but university presses will do (which is dumb, but what can you do?).
I came upon this through dhawhee's blogos, and thought it so helpful I put it up on my own blog, the Long 18th.
A few comments:
1. In my own case, my diss director was not in a position to help me navigate the process, so I relied on Germano's book and whatever advice I could scrounge from colleagues. It worked out, but it made it take longer. Now that I'm tenured, I feel like I need to provide whatever guidance I can to junior colleagues. But people tend to generalize from whatever singular experience they had. Hence, the usefulness of these kinds of discussions.
2. Getting a freelance copyeditor is a great idea, since most publishers leave so little time. I was really fortunate, though, because my press provided a great person to see the ms. through in a reasonably thorough way. It would have been a nightmare if we'd tried to rush it.
This is great, TR. Thanks!
I got some advice that I'll pass along, although I'm acting on it now so I have no idea how well it will work: write a clean, well-thought-out book proposal of 20-25 pages that lays out your argument and sources, but most importantly, the significance of your work. It should be a piece that shows off your ability as a writer and researcher.
As I said, I'm working on this now, so I don't know if it will wind up being good advice, but I can say that just writing a book proposal based on my dissertation has helped me think about the strengths and weaknesses of my dissertation and helped me focus on what revisions I need/want to make.
I'm planning on sending this out to some publishers in the fall...we'll see how it goes!
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many slightly more advanced colleagues have suggested that th days of exclusivity in MS review are gone. could someone please speak to the pros and cons of multiple submissions?
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I think these changes will affect you. Presses will suddenly decide that "We are going to focus on X and Y, but not A & B. If you do A, and have admired the presses books in A, it doesn't matter.
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