This year Frances Pinter of Bloomsbury Academic is one of the keynote speakers at the Tools of Change for Publishing conference. Just reading the first line of the blurb “Living through a time of transition is exciting, stimulating, stretching and expensive!” causes excitement. This publisher embraces future trends “experimenting with open content licensing for scholarly monographs” while maintaining a comfortable position in tradition. This promises to be a great talk.

Another keynote speaker is Arianna Huffington, Co-Founder and Editor-In-Chief of The Huffington Post. Just recently I talked about the influence The Huffington Post has on the future of publishing (I wonder at O’Reilly’s skill in knowing exactly what I’m looking for). “Publishers just need to find new and innovative ways to reach these digitally-focused eyeballs.” As the publishing industry free-falls, Ms. Huffington steps up with possibilities in the brave new world.

I look forward to hearing Angela Bole, Associate Director, Book Industry Study Group, Inc. speak about the eBook consumer. Allison Belan Assistant Production Manager for Journals, Duke University Press and Maureen McMahon President & Publisher, Kaplan Publishing are joining together to explore “Change”, how to drive it and achieve real lasting change.

Lisa Shannon, Associate Publisher at Wiley speaks about the transition from ebooks into training. Christine Perey of PEREY Research & Consulting brings her “18 years experience working in emerging multimedia communications markets” to speak about “augmented Reality … mixing digital information and the real world in a highly interactive manner “. They are joined by Angelina Ward, Senior Acquisitions Editor at Syngress. Ms Ward is presenting a case study about a year growing her publishing business.

I’m always excited by Adobe, and I’m sure I won’t be disappointed by Julie Baher, Experience Design Manager at Adobe as she discusses the future of digital reading. Diana Childress, Senior Director, Content Partnerships at Blackboard Inc. and Carrie O’Donnell,President at O’Donnell & Associates, LLC talk about the digital reality and whether or not digital content eases research or not.

This sample of influential women is only from one day of the three day conference. And, just as last year, I am unable to attend in person. Thanks to O’Reilly I can view all the sessions online; I “attend” a little later than everyone else.

This promises to be a great conference. Hope you can make it.

Each team approaches joint projects in a unique way, depending on the chemistry between the authors and the strengths each brings to the project. One person might be in charge of one theme which runs through the book while the others act a accessories, each contributing minor excerpts to support the main thread. Or the group might become decentralized where every author writes a chapter or section of the book independent of the other parts. Sometimes there are researchers and writers. The researcher finds all the supporting evidence and the writer mashes it, stirs it, and produces a cohesive final book.

Today there are books being written by many people, 144 characters at a time, on Twitter. Brandon Mendelson wrote The Falcon Can Hear the Falconer in Twitter. Instantaneous writing and reading. Ever sit on pins an needles waiting for the next installment of a sequel? Imagine the story is unfolding, tweeting out to your desktop, as your working. And these Twitter novels don’t have a plan, an outline, to speak of. How could thousands of people write to an outline, instantly, in 144 characters? The content reflects real time, it’s certainly not static. Current events make their way into the story as the event occurs. The downside to this is managing the contributors, writing time, and the danger of loosing the main theme.

Collaboration takes another twist in an Agile environment. For those of you who don’t know Agile development, on one foot, it is development to small goals within a limited time frame, usually a week to three weeks long. Certain small goals are set and worked towards. Then the project is reanalyzed and new goals set for the next round or sprint. Writers have to adapt to a new writing cycle between themselves and among the Agile team. Publishing collaborative works follows the general model, if you don’t look too closely. The introduction of writing sprints changes everything. Publication dates become part of a sprint. The piece might be “published” many times before it reached its intended audience.

The next model is slightly more complicated. I’ll be looking a single sourcing information and its relevance to commercial publishing.

Spending time with an agent to sell the idea before the book is written may clarify whether or not the book should be written in the first place. After all, the market may already be saturated with books about how to cook frogs and other potential road kill. The time spent marketing the idea is well spent if the author discovers that and avoids one more of such books. Then again, the author might find a publisher that is interested enough and encouraging enough to start the author writing.

The alternative is also risky. If the author starts writing the book because he has a passion about foraging and using everything that he finds in the wild, he takes the risk that the book won’t sell even after it’s written. How many Euell Gibbons’ can the book industry support? (My personal opinion is that the world could use more like Mr. Euell. I can’t count how many times I’ve read his books. If you aspire to be like Mr. Gibbons and are having a difficult time finding a publisher, drop me a line.)

The variant on the basic book model is that the author takes the risk and writes the book before searching for an agent or a publisher. This is the path most new authors must take unless they are well published in venues such as newspapers or magazines. However, there are many instances when a person is recognized as a leader in their field. The publisher might approach such person to write a book, giving assistance at all stages of the book from planning to print.

After the author finishes the manuscript he starts looking for an agent. The agent takes the manuscript in hand and starts shmoozing it up. A good agent has many contacts throughout the publishing industry, each specializing in particular fields; a good agent knows to whom the book should be directed. Phone calls, meetings, lunch, calling in favors all go into the pot. The more the agent believes in the book, the harder the agent works to find a publisher.

For the sake of this model, the book gets accepted by a publisher and the cycle becomes identical to the basic book model. Revisions are made, the manuscript is proofed, typeset, proofed, and published. We’re still dealing with printed matter and one author. Next I’m going to look at ebook creation and collaboration.

Notice that I haven’t said anything about publicity in either model. That’s deliberate. Publicity and marketing of books opens up many possibilities today. This is going to be addressed in later posts.

Books on a Shelf

So many book models exist today. From the traditional write-and-publish to the eBook, with everything in between, the variations are staggering. This post is about the basic book model. Once the book life cycle is described I can then talk about the variations on the model. By enumerating the book models I can have a better understanding of how to create a flexible, living model that works for French Creek Press.

The basic model starts with the author. Ms. Author has an idea for a book. She has never published a book, nor has she published articles on the book subject. After carefully outlining the book, doing the research, writing the synopsis, and writing the first three chapters, she finds an agent. The agent then submits the book to a likely publisher. For the sake of our example the publisher accepts the book and pays a small advance to the author.

At this time the author retires to her little cubbyhole, chains herself to her desk, and writes the book. Since she is chained to the desk 8 hours a day, she actually finishes it according to schedule. The day finally comes when she writes, either literally or figuratively, “And they lived happily to the end of their days. The End”. She lovingly wraps the manuscript, after all, this is her six month in creation heart and soul, and ships the manuscript to the publisher.

When it gets to the publisher it is sent off to readers. The manuscript is ripped apart and put back together according to the publishers needs. Requests for change are drawn up, and everything is sent back to the author. Please fix. Maximum revision time? Four months.

While the author is revising the book, the publisher sets the publishing process in motion. The publishing schedule is set; the book cover is commissioned; the book layout is designed. When the book returns to the publisher, all revisions accepted, the book goes out to proof, offset printing is scheduled, then to the printer for pre-publication copies (ARC-advanced reading copies), and then to the pre-publication reviewers. Then the first print for publication is run.

In this basic model the publisher is established. The books are sent to the distributor, possibly accompanied by the pre-release reviews. Bookstores order the book, and the book is shipped and placed on the shelf in a brick&mortar bookstore.The book remains on the shelf for some period of time. The books not sold become “remaindered”.

That’s the simple life cycle. Next in the life of a book, I look into publishing variations for printed books.

The pictures displayed here are from two different public domain libraries:
Keyboard by Petr Kratochvil
http://www.public-domain-image.com/site_map.html