firstwriter.com's database of publishers includes details of 2,823 English language publishers that don't charge authors any fees for publishing their books. The database is continually updated: there have been 105 listings added or updated in the last month. With over a dozen different ways to narrow your search you can find the right publisher for your book, fast.
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I run a solo agency practice, Lotus Lane Literary, which I established in 2013. I work from my home-office in New Jersey and employ a part-time intern throughout the year. I do business mostly in the US, the UK, India, and sometimes in other Asian and European countries via book scouts. My roster ranges from debut to well-established writers from all over the world. Lately, I have also started selling film/TV options to production houses in India, UK and the US.
In all these years, my life has been enriched in ways I could not have imagined. The camaraderie with authors and editors is special. It is gratifying to wake up each morning and look forward to reading a new manuscript, or working with an author on an edit, or brainstorming characters and their motivations. My authors often joke that they have graveyards full of characters I have suggested eliminating from their manuscripts. I love being immersed in narrative in any form, as books not only open us up to discovery, wonder and excitement, but also help us make sense of our volatile world.
While the joys of being a literary agent are deeply enmeshed with creativity, it is ultimately a business. In an industry that works at the dichotomous intersection of art and commerce, running a profitable business is always a challenge, especially in times of global pandemics and recessions.
Though many independent publishers interviewed by PW last week reported a drop in sales during the Covid-19 pandemic, several said sales are—surprisingly—up for the year, buoyed by strong interest in backlist titles, direct sales to consumers, and enhanced digital initiatives. Most also said their staffs are working remotely and will continue to do so until at least the end of August. Some are allowing limited staff to go to their offices irregularly to fulfill orders and do necessary administrative tasks.
The Covid-19 pandemic has already had a big impact on independent publishing. Some changes—working at home, employee furloughs, curbside shopping—were thrust upon the industry suddenly. And though they weren’t part of a concerted effort to change old and inefficient business practices, they may indeed have that effect. Here are several new realities that are likely to survive the disease itself and lead to evolutionary leaps in book publishing.
In March, when parts of the United States began shutting down because of the coronavirus, the best-selling children’s book author Jeff Kinney faced a quandary.
“Rowley Jefferson’s Awesome Friendly Adventure,” part of his popular Wimpy Kid series, was due out in April with a first printing of 3 million copies. His publisher had lined up a 10-city tour.
In a matter of days, those plans crumbled. “The book was about to land in stores that were closed to customers at the height of a pandemic,” Kinney said.
He and his publisher decided to postpone the release until August, in hopes that by then, his tour could be resurrected. Millions of copies are now sitting in warehouses. “It wasn’t an easy decision,” he said. “We knew lots of kids would enjoy the book while in lockdown.”
Articles
In April 2011, Marion Grace Woolley found her first publisher through firstwriter.com's database of publishers. A year later, she has published three books with two different publishers, both from our listings.
When Simon & Schuster announced in late February that it is canceling Milo Yiannopoulos’s book, Dangerous, many in the publishing industry reacted with a sigh of relief. The six-figure book deal that the right-wing provocateur landed at Threshold Editions, S&S’s conservative imprint, late last year caused a wave of criticism—from various factions of the media, the public, and the house’s own authors. And, though it’s still unclear what ultimately motivated the publisher to yank the book, the fervor that the alt-right bad boy’s deal caused put some on alert. Could other publishers be pressured into canceling books by controversial conservatives? Does the industry have a double standard for authors on the right? Does it matter?
Late last year, novelist Keira Drake said her publisher was giving away copies of her upcoming young-adult novel, “The Continent,” a fantasy set in a world where two nations have been at war for centuries. “It’s raining books!” she wrote.
Her enthusiasm was quickly punctured. Online reviews poured in, and they were brutal. Readers pounced on what they saw as racially charged language in the descriptions of the warring tribes and blasted it as “racist trash,” “retrograde” and “offensive.” Drake and her publisher, Harlequin Teen, apologized and delayed the book’s publication.
Traditional book publishers. They were once known as the titans of the book publishing industry. In the Baby Boomer era, self-publishing was an unknown concept. You needed a traditional publisher if you wanted the best chance to succeed with your book.
During that time, there was significantly less competition for publishers and authors, meaning more book sales for both parties.
Over time, traditional publishers (especially The Big 5) gradually started to exploit authors by offering lower royalties and seizing the author’s publishing rights.
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