Where the Growth Is

FEBRUARY 2013 | Vol. 31 • No. 2Where theGrowth IsSmall publishersshine in industrystatisticsImage AlertHow to avoid thedangers lurking inphoto licensesAuthors’WebsitesWays to combatcommon weaknessesPicking PrintersA self-publisher climbs asteep learning curveNegotiating KnowhowTactics for safely getting to YesPublicity 101Advice on doing it yourselfand on hiring help

In This IssueFebruary 2013 | Vol. 31 • No. 2IBPA Independent (ISSN 1058-4102, formerlyPMA Newsletter ) is published monthly byIndependent Book Publishers Association.Periodicals Postage paid at Manhattan Beach, CA90266, and at additional mailing offices.HEADQUARTERSIndependent Book Publishers Association1020 Manhattan Beach Blvd., Suite 204Manhattan Beach, CA 90266Phone: 310/546-1818 • Fax: 310/546-3939Email: info@ibpa-online.orgWeb site: www.ibpa-online.orgOFFICERS and DIRECTORSSteve Mettee, The Write Thought, Board ChairDavida G. Breier, Johns Hopkins University PressRoy Carlisle, The Independent InstituteRana DiOrio, Little Pickle PressTom Doherty, Cardinal Publishers Group /Blue River PressKelly Gallagher, Ingram Content GroupPeter Goodman, Stone Bridge PressDeltina Hay, Dalton PublishingMaryAnn F. Kohl, Bright Ring Publishing, Inc.Dr. Haki Madhubuti, Third World PressJohn Mutter, Shelf AwarenessChristopher Robbins, FamiliusJanice Schnell, Ingram Content GroupCarlene Sippola, Whole Person Associates,Immediate Past Board ChairStephanie Stewart, Academy of LearningFlorrie Binford Kichler, PresidentTerry Nathan, Executive Director/SecretaryLisa Krebs Magno, Assistant DirectorADVISORSJonathan Kirsch, Law Offices of Jonathan Kirsch,General CounselLloyd Jassin, Law Offices of Lloyd Jassin, CounselHal Jaffe, Bay Sherman Craig, LLP, AccountantIBPA INDEPENDENT STAFFJudith Appelbaum, EditorLinda Carlson, ReporterJudith Stein, Copy EditorDarlene Swanson, Van-garde Imagery, Inc.,Design and ProductionChris Kahn, Advertising SalesEditor contact: judithappelbaum@aol.comPublished by IndependentBook Publishers Association.Independent Book Publishers Association cannotand does not guarantee any specific results toparticipants in IBPA marketing programs.Copyright ©2013 by Independent BookPublishers Association. No portion of thispublication may be reprinted without expresswritten consent of IBPA. The writings containedwithin the pages of this publication do notnecessarily reflect opinions of IBPA.POSTMASTER: Send address changes toIBPA Independent, 1020 Manhattan BeachBlvd., Suite 204, Manhattan Beach, CA 90266.4 What’s New? A Trio from IBPAby Florrie Binford Kichler. The e-bookawards, the Toolkit series, and the nextPublishing University.6 What You Need to Know AboutUsing Third-Party Photosby Steve Gillen. License limitations can getyou into big trouble, and they often lurk inunexpected places.10 Independent Publisher Powerby Kelly Gallagher. Big news: Smallerpublishers are the only ones showingsignificant growth.13 Author Websites: Eight CommonMissed Opportunities (and Whatto Do About Them)by Laura Pepper Wu. Cures for mistakeswriters make.16 From Self-Publishing to Successin Multiple Markets: ThePenfield Books Storyby Linda Carlson. Featuring niche titles,distributing, packaging, and patience.19 Publicity: A Five-Part BasicProgramby Julia Drake. Advice from a publicity proon timing, messaging, media campaigns,and more.22 IBPA Marketing OpportunitiesIBPA AFFILIATESAuthor U of Denver, CO, authoru.orgBay Area Independent Publishers Association, baipa.orgBook Publishers Northwest, bpnw.orgColorado Independent Publishers Association,cipabooks.comConnecticut Authors & Publishers Association,aboutcapa.comFlorida Publishers Association, FLbookpub.orgGreat Lakes Independent Publishers Association,glipa@tm.netGreater New York Independent Publishers Association,gnyipa@blogspot.comHawaii Book Publishers Association, hawaiibooks.orgIndependent Publishers of New England, ipne.orgMidAtlantic Book Publishers Association,midatlanticbookpublishers.com24 Changing Printers in Midstreamby Walt “Stryke” Clayton. Paradise lost andfound for a complicated illustrated field guide.27 The Language of Publishing:J, K, L, Mby Linda Carlson. From JPEG throughknockout and markup—the new installmentof the IBPA glossary.31 Negotiating Large NonretailSales: Part 1, Parameters forProfitsby Brian Jud. Don’t negotiate withoutknowing your BNO; you can lose moneyeven with an enormous payment.33 Step Back to Lead Forwardby Kevin Cashman. One principle andseven practices for growing yourself,growing others, and growing cultures ofinnovation.37 Moving a PublishingBusiness Abroadby Anna Faktorovich. It may be a smallworld, but problems can loom large for apublisher who decides to operate overseas.40 Metadata Mustsby Renée Register and Thad McIlroy.What information you need to provide, andwho might help you provide it the right way.45 Classified Mart46 Advertiser IndexMidwest Independent Publishers Association, mipa.orgMinnesota Book Publishers Roundtable,publishersroundtable.orgNew Mexico Book Association, nmbook.orgNorthern California Publishers and AuthorsAssociation, norcalpa.orgNorthwest Association of Book Publishers, nwabp.orgOrganization of Book Publishers of Ontario,ontariobooks.caPublishers and Writers of San Diego, publisherswriters.orgPublishers Association of Los Angeles, pa-la.orgSmall Publishers, Artists and Writers Network,spawn.org (online only)St. Louis Publishers Association, stlouispublishers.orgUpper Peninsula Publishers and Authors Association,uppaa.orgVisit the IBPA Website at www.ibpa-online.org | 3

President’s Postby Florrie Binford Kichler, President, IBPAWhat’s New? A Trio from IBPACynics say that there’s nothing newunder the sun, but I invite thosecynics to take a look at IBPA, wherethe joint’s jumpin’ with new ways toincrease the value of your membership.Right now—from the folks whoin the last 12 months brought you (toname a few benefits) cost-effectiveentrée to the NetGalley book reviewservice, a massive Website redesign toimprove your access to IBPA educationand resources, Ask the Expertsonline, and a slew of new moneysavingdiscounts on goods and services—herecome three more initiativesto warm up your winter.No new venture goes anywhere withoutthe supporters and believers todrive it forward, and all the peoplementioned below are true championsof these latest programs.The Benjamin FranklinDigital Awards“The Benjamin Franklin DigitalAwards honor innovation in electronicbook publishing by individualsand organizations of all sizes, includingpublishers, software developers,designers, manufacturers, institutions,and technology leaders. The definitionof ‘book’ continues to expand, and theIndependent Book Publishers Associationwishes to honor and encouragethe field’s innovators with a marquee,rolling awards program”—from theBFDA Website (ibpa-bfda.org).Joining older sibling Benjamin FranklinAwards for print, this new additionto IBPA’s educational programmingprovides the opportunity for publishersand technology innovators to gainvisibility for their e-books/productswhile at the same time (like publishersapplying for Benjamin FranklinAwards) learning how to improve viafeedback directly from judges.Gold and SilverBenjamin FranklinDigital Awards aregiven all year round.BFDA are rolling awards, meaningthat the Gold and Silver awardsare continually given all year round.In addition, entrants are competingnot against one another but againsta standard of excellence judges useto evaluate them. Judges are selectedfrom experienced and knowledgeableexperts in the industry.All honorees will receive certificatesand an award graphic for use in covers,Websites, social media outlets,and otherwise. Honorees will also beshowcased and promoted to the booktrade industry on the IBPA Websiteand through the IBPA social mediaplatforms, newsletters, and mediareleases. And honorees will be listedin a house ad in the Independent, theofficial print publication of IBPA, andwill be recognized at a gala event at theIBPA Publishing University, held eachspring. Visit ibpa-bfda.org for the mostup-to-date information on this excitingnew program from IBPA.Special thanks go to past board memberDave Marx for his foresight, tocurrent IBPA board member ChristopherRobbins for his vision and energyin driving this project forward, to themembers of the BFDA steering committeefor their support, and to ArunBenty of Papertrell who donated hisservices in creating the BFDA Website.The Book PublishersToolkitAfter three decades of helping thou-4 | IBPA Independent | February 2013

President’s Post■sands of people publish their books, IBPA has now dipped itsown toe into the publishing waters. The Book Publishers Toolkit:10 Practical Pointers for Independent and Self-Publishers isthe first in what will be a series of collections of articles fromyour Independent magazine covering all aspects of publishing.As you read this, the book is available for the Kindle, withplans to expand distribution to make it widely available to all.It takes a village to publish abook, and IBPA’s first title isno exception.As you know from your own efforts, it takes a village topublish a book, and IBPA’s first title is no exception. A hugethank-you to the contributors to this inaugural offering fortheir generosity in donating any proceeds to IBPA to helpus continue improving educational and marketing programsfor members.These respected publishing professionals are: Kate Bandos,Kimberly Edwards, Joel Friedlander, Steve Gillen, AbigailGoben, Tanya Hall, Brian Jud, Stacey Miller, Kathleen Welton,and David Wogahn. Thanks also go to Independent editor JudithAppelbaum; board chair Stephen Blake Mettee of The WriteThought; Dan Snow of Unlimited Publishing; Janice Schnellof Ingram; Tom Doherty of Cardinal Publishing; and the IBPAboard of directors and staff for their help and support.Publishing University: “Discovering”Chicago“Discoverability: How to Reach Your Reader and Sell MoreBooks” is the theme of this year’s IBPA Publishing University.In keeping with IBPA’s mission to bring education topublishers throughout the country, Publishing Universityis on the road again to a new location—the Windy City in2013—with new programming, new speakers, new vision,and a keynote address from e-visionary Dominique Raccah,CEO of Sourcebooks, who started her publishing company31 years ago in her upstairs bedroom with one title (soundfamiliar?) and built it into the largest woman-owned publishingcompany in the country.Dominique is a pioneer in both the e-book and book app arenas,and joining her will be futurist and Sourcebooks authorDavid Houle (The Shift Age), part of the executive team thatlaunched MTV, Nickelodeon, VH1, and CNN HeadlineNews. David has 20 years of media and entertainment experienceand will give attendees a glimpse of publishing’s futureas well as a look at how he created his book using the AgilePublishing Model, featuring a partnership between authorsand their reader communities.The return of IBPA’s one-on-one consulting sessions, Ask theExperts; more than 20 breakout sessions featuring practicaltools for success you can use right now; access to more than40 experienced publishing industry instructors who generouslyshare their knowledge; and much more will combine tomake Chicago’s IBPA Publishing University 2013 the eventyou won’t want to miss. Don’t take my word for it—visitibpapublishinguniversity.com for all the details.Three very different offerings from IBPA, but there is onething they have in common. Neither these nor any otherinitiative would be possible without the help, support, time,and energy from you—our members—and the commitmentof so many industry experts who understand the importanceof nurturing, strengthening, and educating the independentpublishing community. ■Follow Florrie and IBPA on Twitter at twitter.com/ibpa, and on IBPA’s blog at ibpablog.wordpress.com. Join Independent Book Publishers Association–IBPA group on LinkedIn(linkedin.com).WHEREBOOKSARE BOUND FORGREATNESSRequesta quote atwww.c-mbooks.comwith our NEWsimplifiedsystem• Short to medium runs• Offset, digital, eBooks• Expedited schedules• Competitive pricing• Supplied film accepted• One-Contact CustomerServicetoll Free: 888.295.7244 • Fax: 734.663.5731CheCk out our new look at www.C-mbooks.ComVisit the IBPA Website at www.ibpa-online.org | 5

What You Need to KnowAbout Using Third-Party Photosby Steve GillenAccording to the allegations in recentlitigation, Pearson played fast andloose with the photography it procuredfor use in its books. The giantpublisher would arrange to useselected photos from a photographeror stock agency and, by underreportingits usage needs, get access to highresolutioncopies of the photos at alower price than it would have had topay if it had accurately disclosed theuses it planned.According to the complaints, Pearsonwould then put the high-res imagesinto its own digital asset file, where itmaintained them for future use, sometimesreporting the new or expandeduse and paying additional fees later,sometimes not.The result of this chicanery has beenthat Pearson has been sued for copyrightinfringement over the last fewyears in more than a dozen federalcourts across the country, fromHawaii and Alaska to New York andPennsylvania. The claims in thesecases include allegations that Pearson’sinfringing conduct was pervasiveand willful, raising the prospectof statutory damage awards of up to$150,000 for each work infringed, andthousands of images are at issue acrossthe cases.If Pearson loses these cases, it will beexposed also for the attorneys’ feesand costs of each of the many plaintiffs.What’s more, the plaintiffs insome of these cases have also namedPearson’s printers as additional defendants,and Pearson will likely have tobear the cost of defending and indemnifyingall of them.The distinctionbetween editorialand commercialuse is important,and it is not alwayseasy to draw the linebetween them.While the smaller scale of operationmakes it unlikely that any reader of theIndependent will get into water as hot asthat in which Pearson is currently stewing,licensing third-party photographyis so complex today that it’s worth takinga few minutes to review the basicsand get familiar with the terminology.Categories of Use:Editorial vs. CommercialProfessional photographers and stockagencies group their work into threebroad categories based not on thenature of the photos but instead on theuse to which the photos will be put:editorial, commercial, and retail.Retail use concerns photography6 | IBPA Independent | February 2013

Third-Party Images■commissioned for personal use, so it is of little consequenceto book publishers—except, perhaps, for that studio portraitsupplied for the back cover by your author, who may nothave obtained the necessary rights.You need to understand thatRoyalty Free doesn’t mean free.Editorial use concerns photography that will be used in abook, an e-book, a magazine, online, or in a presentation orvideo that is journalistic, educational, or expository in nature.Commercial use concerns photography that will be usedin advertising and promotion to sell or market a product(including a book), a person (including an author), a company(including a publisher), or a service (including editing,design, and distribution).The distinction between editorial and commercial is particularlyimportant because commercial uses typically havea significantly higher price tag than editorial uses. And it isnot always easy to draw the line between the two. While theuse of a photo in the interior pages of a trade book is almostcertainly editorial, the use of a photo on your Website may beeditorial (if it is associated with content presented there) orcommercial (if it is associated with a sales message). And if aWeb page has both editorial and promotional content, it maynot be easy to tell which predominates.Likewise, the photo used on the cover of your book is editorial,but a shot of the cover of your book (with the photoincorporated) appearing on an Amazon page offering thebook for sale maybe be defined by your license as an unincluded,secondary use that is commercial.Categories of Assets: Royalty Free vs.Rights Managed vs. Commissioned WorkRoyalty Free and Rights Managed are terms that refer to thegeneral scope of the license granted.You need to understand first that Royalty Free doesn’t meanfree. Instead, it describes a license that provides for an upfront,one-time payment in return for which you get relativelybroad, nonexclusive usage rights. The obvious advantageto a Royalty Free image is that you pay a relatively smallfee one time in return for the right to make multiple uses ofthe image.However, license terms vary from vendor to vendor, so even aRoyalty Free license for an image may sometimes impose somesort of limit on the use that you can make of that image in termsof number of copies or length of time or medium or purpose.The disadvantage of Royalty Free images is that the rightsyou get are nonexclusive, so that the image you select is alsosimultaneously available to others. And the others who findit may have used some of the same search terms you used,which means that the same image may show up on the coverof a competing book or in an ad for a related product or service.The odds of that are better than you might think.Commissioned work is the most expensive, whether it ispurchased outright or exclusively licensed. Because commissionedwork refers to images staged or shot just for you, thephotographer’s price to you will have to cover 100 percentof the value/cost of producing them. You can pay this entireprice up front in return for an assignment of the copyrightsto the work. Or you can pay it one use at a time, for a series ofexclusive licenses as your needs arise.Rights Managed licenses occupy a middle ground betweenRoyalty Free and commissioned work. Rights Managedimages are selectively licensed for exclusive use limitedby market, by length of time, by geographic territory, bymedium, and so on. Because the photographer or agencyexpects to spread the cost over several separate licenses duringthe life of the image, the price is substantially less thancomparable commissioned work. And a competing use ofthe same image is essentially impossible.Limitations on UseSo we have a spectrum of expense and associated rights fromcommissioned commercial work to Royalty Free work for editorialuses, but between the two ends of this spectrum the devilis, of course, in the details, largely because each vendor can anddoes impose its own limitations on use in a variety of forms.Here is a nonexhaustive list of the possible restrictions youmay encounter.Location/placement. As in real estate, location isimportant. Whether an image will be used on a book cover,on a chapter opener, in an internal illustration, or on a Webpage will affect the price you are charged.Size. The size in which an image will be reproduced also oftenaffects price. Size can be measured in terms of portion of aVisit the IBPA Website at www.ibpa-online.org | 7

■Third-Party Imagespage (e.g., quarter page), or in inches (e.g., 5" × 4"), or in pixels(e.g., 2,000 × 3,500 pixels). Be sure that any size limitationencompasses the maximum size your use might require.Medium. The medium you will use to distribute your workmakes a difference. Photographers are well aware that digitalis more susceptible to unauthorized harvest and use thanprint, and they charge accordingly.Each vendor can and does imposeits own limitations on use in avariety of forms.Quantity. Be sure that any quantity specified in a licensecomfortably covers at least your first print run (plus anyallowable overage), and be equally sure to go back and getlicense extensions before ordering a subsequent printing.Territory. Specifying world rights will certainly cover you,but it may mean paying for rights you don’t exploit. Determinedifferences in price and make your decision accordingly.Then don’t forget to go back for an extension if it turnsout that you want to exploit an export opportunity.Duration. Many licenses are described as perpetual orunlimited in time, but Rights Managed licenses have finitedurations, and even some Royalty Free licenses have finiteterms (e.g., seven or ten years or more) just to avoid openendedcommitments. Watch for these and arrange forreminders to pop up in sufficient time for you to get an extensionor replace an image.Versions. If a license contains a limitation on versions,make sure the limit encompasses the maximum numberof design versions and editions, and any ancillary works inwhich the image will be used.Language. Look for limitations on the language of the textin the work that will include the image, and think not justabout the book’s language but also about the language(s) onWebsites that may feature it.Exclusivity. The meaning of nonexclusive is pretty straightforwardbut exclusive can be defined by any number of metrics. Makesure any exclusivity is clearly and unambiguously described.The way a license expresses limitations is critical. If you see aterm that is unfamiliar to you, consult the Picture LicensingUniversal System (PLUS) terminology glossary, developedby a coalition of associations representing photographersand other affected constituencies (useplus.com/useplus/glossary.asp). And when in doubt, add your own definitionsomewhere in the purchase documents.Limitation LocationsIt would be terrific if you could find limitations on yourlicense rights in just one place, but the terms of the deal areoften widely dispersed.Terms may appear in a pretransaction document that mightbe provided as a print or online form called a bid, a quote, anestimate, an assignment confirmation, or the like. Althoughsuch a document, in and of itself, is merely an invitation tonegotiate and not a binding contract, your acceptance ofthe offer—either by issuing a purchase order or simply bymaking payment—will have the effect of incorporating theproposed terms, as well as any terms contained in any set of“Standard Terms” (or “Terms and Conditions”) attached tothe offer document. (For some tips on how to counter theseone-sided terms, see “Add Power to Your Purchase OrderForm: A New Year’s Resolution Worth Keeping,” in the January2011 Independent.)Terms may appear in a formal license document. Especiallyif your transaction is effected online, you will probably beasked to click your assent to one of those documents as a partof completing your purchase. Don’t do this until you haveclosely examined the terms of that license that just flashed by.A photographer or stock agencymay elect to recover the profitsyou made from unauthorized useor the profits they lost.And sometimes terms first appear in a post-transaction document,such as a delivery memo, change order, or invoice.Although you can’t be forced to accept these terms if they werenot disclosed prior to your commitment, you will likely haveassented to those after-the-fact restrictions if you pay the invoicewithout examining it and making or arranging for changes.Punishment PossibilitiesWhat happens if, despite your best intentions, a restriction8 | IBPA Independent | February 2013

Third-Party Images■escapes your notice and your lapse is detected by the photographeror stock agency? Well, about the best you can expectis that you will be deemed in breach of your contractual commitmentand held to account for what you should have paidfor the uses you actually made.“Nonexclusive” is prettystraightforward, but “exclusive”can be defined by any numberof metrics.More likely, the licensor will claim that you made an unauthorizedand infringing use of a copyrighted work outsidethe scope of any license you had. In this event, the copyrightowner has some very potent strategic advantages and remedies.You may have to:Pay actual damages. A photographer or stock agencymay elect to recover the profits you made from the unauthorizeduse or the profits they lost because of your failure to takeand pay for a license.Pay statutory damages. In lieu of actual damages, aphotographer or stock agency may elect to ask the court foran award of statutory damages of up to $30,000 per workinfringed where the infringement was not willful and up to$150,000 per work infringed in cases of willful infringement.Pay the other side’s attorneys’ fees and costs. Ontop of actual or statutory damages, a photographer or stockagency may ask the court to award reimbursement of theirattorneys’ fees and costs (which can be quite substantial—a lawyers’ professional association reports that in 2010 thenational average cost to try a small copyright infringementcase was $350,000).Obey an injunction. Plaintiffs may also ask the court toprovide injunctive relief by ordering you to stop the infringinguse and to surrender all infringing inventory and reproductivematerials for destruction.Bear indemnification obligations. Since copyrightinfringement is a “no-fault” offense that reaches virtuallyevery party who participates in the reproduction, distribution,adaptation, or public display of an infringing work,your printer and/or your ISP may be named as additionaldefendants, increasing your cost and exposure. (See “Printers’Terms: What the Boilerplate Means and Where There’sWiggle Room,” in the March 2011 Independent.)Bottom-line GuidanceIt’s said that you get what you pay for. When it comes to photography,that doesn’t necessarily mean that low price equalslow quality. Instead, a low price for reproducing a photographprobably means sharply limited rights. So look for agood price, but focus hard on the license terms, and makecertain they cover what you need to avoid ending up in adamaging fight over photos. ■We cover all your needs from start to finish!Steve Gillen is a lawyer and partner in the intellectual property firm of Wood Herron & Evansand has focused his practice on publishing and media matters for 30 years. He is a memberof IBPA and a frequent contributor to the Independent. To reach him: sgillen@whe-law.com;513/241-2324, ext. 470.We cover your needsfrom start to finishRose IBPA ad.pdf 7/24/11 3:19:46 PMFrom 5 to 50,0001-Color to 4-ColorBook ProductionWeb • Sheetfed • Digital1-800-227-3725www.roseprinting.comIf There's a Book in Your Head...It's Time to Getit in Your Hands.Toll Free 1-877-705-9647Undergo a takedown. If your infringement is online, thephotographer or stock agency may serve a takedown demandon your service provider, which will likely result in some orall of your Web site being disabled.Visit the IBPA Website at www.ibpa-online.org | 9

BOARD MEMBER’S MEMOIndependent Publisherby Kelly GallagherAs the publishing industry continues to go through tectonicchanges, overall unit sales continue to grow, but overall revenuenumbers are not doing as well.According to BookStats (a collaborative effort by the BookIndustry Study Group and the Association of American Publishers),net unit sales grew by about 12 percent industrywideover the four-year period from 2008 to 2011, reachingjust under 2.8 billion units. This growth is largely a result ofthe exponential growth of e-book sales.Collectively, your segmentsof the industry are making asignificant contribution to thepublishing community.Net dollar sales, on the other hand, managed to squeeze outonly 2.9 percent growth over that same four-year period, finishing2011 at $27.2 billion. And overall net dollar sales actuallydeclined from 2010 to 2011, by $700 million. Accordingto early reports on 2012, the trend is continuing.How do these numbers relate to the independent publishersegments of the industry? For smaller publishers, the Book-Stats numbers paint a very different and quite positive picture,so positive that you can convincingly conclude that weconstitute the industry’s healthiest and fastest-growing segment.Smaller Publishers, Bigger GainsDuring the past four years, from 2008 to 2011, publisherswith annual net sales between $500,000 and $5 milliongrew unit sales by more than 25 percent, double the industrygrowth rate. And publishers with less than $500,000 inannual net sales also far exceeded the industry average, growingunit sales by nearly 23 percent in the same four-year span.Revenue growth for each of these two publishing segmentsis even more impressive. Publishers netting $500,000 to$28.028.027.527.026.526.0Publishing Industry – Net SalesAnd 4-Year Growth Rate in Billions of Dollars+ 2.9%2.82.72.62.52.4Publishing Industry – Net Volume in Billions of UnitsAnd 4-Year Growth Rate of Unit Sales+12.2%25.52008 2009 2010 2011Source: 2012 BookStats2.32008 2009 2010 2011Source: 2012 BookStats10 | IBPA Independent | February 2013

Independent Publishers■$5 million annually grew at five times the industry average,at a rate of over 15 percent, while publishers netting less than$500,000 annually grew at four times the industry average, ata rate just under 13 percent.It could be argued that these two publishing segments—thesegments that include IBPA members—were responsible forthe overall marginal industry growth.You can convincinglyconclude that we constitutethe industry’s healthiest andfastest-growing segment.Causes for CelebrationOften the press of day-to-day operations can leave you feelingas if you are on your own, fighting an uphill battle to make,and make known, the titles you work tirelessly to produce. Ibelieve it is important for IBPA members to know two veryimportant things as we celebrate these numbers.Collectively, your segments of the industry are making1 a significant contribution to the publishing communityin the United States. At this moment, they are the only onesshowing significant growth in all categories, revenue, units,and population.This means that not only is there a place for publishers ofyour shape and size, but you are helping the industry continueto grow.The independent publisher segments are also impressive interms of the industry’s total value. In 2011, publishers withannual net sales of less than $500,000 contributed nearly ahalf billion dollars, while publishers with annual net salesbetween $500,000 and $5 million contributed just under$1.7 billion, for a combined total of $2.2 billion.It is a little tricky to estimate how many publishers there arein these segments. But we do know for sure that smaller publishers—definedas those publishing fewer than 10 ISBNs ayear—are multiplying quickly. A recent study published byR.R. Bowker estimated the growth rate from 2006 to 2011at over 69 percent, and noted that this group of publishersnow numbers nearly 21, 000, excluding companies such asSmashwords and those who publish through them.2520151050Small Publishers in Thousands(

■Independent PublishersYou have an association that is driven and designed2 exclusively around the goal of helping you succeed inyour publishing efforts. From the services to the educationalprograms, from the awards to the marketing opportunities,everything your association does is dedicated to helping youbecome more successful.I hope you are aware of and taking advantage of what IBPAhas to offer. In my brief six months as a member of IBPA,I have been impressed by the efforts both staff and boardmembers make to provide amazing value. A case in point isthe new Website. Because of its quality and professionalism,this site is not just useful; it represents IBPA members in away we can all be proud of.So, when we look at the numbers, we should see tremendousopportunity, be encouraged that book readers are respondingto the messages we are creating, and know that we aretaking the right pathways to create growth. Your associationis committed to helping you take advantage of today’s opportunities.Let’s grow together! ■Kelly Gallagher is vice president, content acquisition, at Ingram Content Group. He can bereached at Kelly.Gallagher@IngramContent.com.12 | IBPA Independent | February 2013

Author Websites:CommonMissedOpportunities(and What to Do About Them)Missed opportunity 1:Engaging and interactingwith visitorsWebsites let authors attract and connectwith readers in between bookreleases. Authors used to be able to dothose things only through their books,through in-print and on-air coverbyLaura Pepper WuRecently I sent a survey to authors Iwork with through my book studio.The survey asked if the author has anauthor Website, why the author has aWebsite, and what the author uses thesite for. The results surprised me.An author’s Website can be a fantastictool if and when it is used effectively.But these writers had lots of misconceptionsabout what their Websitesare for, and more often than not theyhad sites simply because they felt theyshould. As a result, they were missing alot of important opportunities.age, and through in-person events.Now, the Internet has given authorsthe power to communicate with theirreaders—and potential readers—every single day.Authors don’t haveto compete withthe other allures ofsocial media on theirown sites.I like to explain an author’s Websiteas the author’s hub, a place to build acommunity and engage in two-wayconversation with followers. At theirsites, authors have full control of theimage they want to present and thecontent they want to share with theirreaders and the media.Authors don’t have to fight for a reader’sattention on their own sites, and theydon’t have to compete with the otherallures of social media. A blog and newslettersignup on an author’s Website aregreat ways to facilitate interaction.Here are some of the typical missedopportunities along with some pointerson how to take advantage of them.While social media provide a fantasticway to facilitate continual engagement,they operate in a fast-movingworld where distractions are plentifuland authors don’t own the content. It’sshortsighted for authors to invest a greatdeal of time in sites where the rules andregulations could change so that peoplemove away and on to the next bestthing; and if a site closes down, all thefollowers an author worked so hard togain could be lost overnight.Missed opportunity 2:Generating next stepsWebsites can be confusing and overwhelmingif they are not laid out well.Authors’ sites should make it easy forpeople to know what steps to take—and tell readers who land on a site whatthe author wants them to do next.Some specifics:✓At the end of every page of a site,Visit the IBPA Website at www.ibpa-online.org | 13

■ Websites✓✓there should be a call to action—an instruction aboutwhat to do now. For example, “Check out more . . . ” or“Subscribe to the blog . . . ”At the bottom of the site’s About page, a simple line suchas “See my books on GoodReads” can encourage a purchaseor the act of reading more about the author’s work.To avoid overwhelming visitors and have some controlover how they use the site, you should provide only onenavigation bar.Sometimes it’s useful to offer a free gift, such as a checklistor report related to a book, in exchange for an email address,and of course it’s always useful to assure people that youwon’t share their addresses.I encourage authors to use Mailchimp for collecting emailaddresses and sending newsletters. It’s fairly easy to manage,and it’s free until you hit 2,000 subscribers. The companygives you a code to copy and paste on your site and in blogposts to create a signup form.✓ A simple sidebar always wins over any element on thesite that’s vying for attention and creating a distraction(examples include a blog roll, an advert, and so on).If there is nothing to do on thesite, visitors will leave in under 30seconds.Missed opportunity 3:Getting your great content readIf a site is painful to look at or slow to load, a reader will clickthe Back button right away, no matter how much great stuffis on the site.That’s why using Flash on a Website is usually a terrible idea.Since everyone’s attention span is short on the Net, if yoursite takes longer than 20 seconds to load, you’re losing visitorsright away.Too much use of color and fancy graphics can detract fromgreat content, leaving visitors confused about where they areand what they should be doing.No matter how beautiful a site looks, if there is nothing to doon the site, then visitors will leave in under 30 seconds. Butif you give them something to read, do, learn, and/or download,you make their trip to your site worth their while.Missed Opportunity 4:Collecting visitors’ email addressesAuthors who collect email addresses in as many ways as possible—inperson and online with a simple form—are ableto continue marketing their books and communicating withinterested people. And when their next books are ready tolaunch, they will have a direct and easy way of connecting toeveryone who might be interested in that.If sending newsletters regularly isn’t do-able, it’s okay to sendnews less frequently, perhaps every other month or quarterlyor in connection with holidays.Missed opportunity 5:Showing some personalityIt’s important to convey a sense of the author’s style and brandin the first few seconds to avoid losing potential readers.Color, font, and graphics are integral parts of an author’sbrand and should reflect the author’s work and style.A picture of the author with a bit of flair (as opposed to astandard headshot) helps convey personality. And biographicalmaterial on the About page that is super- interesting toread should demonstrate that this author is what every greatwriter is—a storyteller.Missed opportunity 6:Speaking to readers (not other writers)Too many authors have their fellow writers in mind whenthey create content for their sites. Their About pages go onand on, spouting statements such as, “I’ve been writing sinceI was a child” and “I completed an MFA at . . . ”Biographical material shoulddemonstrate that this author iswhat every great writer is—astoryteller.An effective About page tells readers the story of the author’slife and work, with an eye on what they will want to knowabout and enjoy reading.Similarly, blog posts should not be about writing; they should14 | IBPA Independent | February 2013

Websites■be about themes and topics that relate to an author’s work andthat targeted readers and potential readers will enjoy.Missed opportunity 7:Making things easy for the mediaMedia people are generally pressed for time. They want tofind all the information they’re looking for in one place.This means that an author’s site should have one area wherephotos, blurbs, bios, videos, contact information, and otherkinds of content that media might want are nicely laid outand easy to download.Say Hello to4-Color Printing fromEdwards Brothers Malloy!Media people want to find all theinformation they’re looking forin one place.Missed opportunity 8:Encouraging contactsEasy-to-spot, easy-to-use contact information can lead togreat opportunities. Thanks to the contact information onmy author site, I’ve heard from magazine editors, radio showproducers, and even an agent interested in representing mywork to other publishers.More important, I hear regularly from readers, which keepsme inspired and fulfilled. That’s the best reason to make it easyfor people to drop you a line while you have their attention.Every author site should have a contact form or a dedicatedcontact page that includes an email address as well as links tosocial media sites.Along with the other elements that go into a professionallooking,interactive, reader-focused Website, something assimple as contact information can make a big difference.Whether you’re an author or a publisher or both, I hope thesetips and action points will encourage you to think about anauthor Website as an amazing tool for attracting and connectingwith readers and the media. ■If you need a new source for 4-colortext printing, look no further thanEdwards Brothers Malloy. With theaddition of a Heidelberg offset colorpress, a new Kodak NexPress (ourfourth), and a new Xerox iGen digitalpress, we have significantly expandedour color offering.• Full color text• One to 3,000 copies• All trim sizes• Soft or hard cover• Wide variety of stocks and bindingoptionsCall 800-722-3231 for details today!www.edwardsbrothersmalloy.comLaura Pepper Wu is the co-founder of the award-winning 30 Day Books, a book studio thatprovides marketing tools and resources for authors. Her latest projects include Authorlicious,a Website theme built just for authors, and the e-book 77 Ways to Find New Readers for YourSelf-Published Book, available at 30daybooks.com/77ways. She blogs at 30DayBooks.com/blog.Visit the IBPA Website at www.ibpa-online.org | 15

From Self-Publishing to Success in Multiple Markets:The Penfield Books Storyby Linda CarlsonWhat keeps a publisher at her keyboard—andcamera—after a careerthat’s already more than six decades long?“A desire to learn, to search, to explore,and to share,” says Joan Liffring-ZugBourret, now in her mid-80s, withmore than 110 titles to her credit—and still turning out books in areas asdiverse as photography, ethnic studies,and humor.“I was so angry Isuggested we startour own publishingcompany to controlthe quality ofprinting.”Liffring-Zug Bourret founded PenfieldPress in Iowa City in 1979 with her latehusband, John Zug. In 2002 the namewas changed to Penfield Books. In herteens, she had been a photographer,and it was that background that led tothe pair becoming publishers. Amongher projects was a book about Iowa artistGrant Wood that an Iowa municipalgallery chose to produce with an inexpensivelow-quality printer.“I was so angry I suggested to John,a former newspaper editor, that westart our own publishing company tocontrol the quality of printing,” sherecalls. “We began with a regional title,The American Gothic Cookbook, usingthe famous couple painted by GrantWood on the cover. We also produceda little collection of recipes from ourannual Fourth of July potluck picnicfor friends and relations. Both bookssold immediately and incredibly well.”Liffring-Zug Bourret, who had alreadybeen creating features about ethnicgroups in Iowa as a contributing editorand photographer for The Iowan magazine,used recipes as a start for the nextproject, an Iowan feature on Czechs thatPenfield expanded with enough recipesand cultural information for a saddlestitchedbook, which sold 5,000 copies.The sales show Penfield’s understandingof its market: At least 30 percentof Cedar Rapids-Iowa City residentsare of Czech descent, the publisherestimates (a Website for Iowa teacherssays that more people of Czechancestry live in Cedar Rapids than inany other city in the world, except forthe Czech capital of Prague), and theNational Czech and Slovak Museumand Library is in Cedar Rapids.No surprise, that first book on Czechsled to more similar titles. Just last month,Penfield launched yet another, CzechTouches, this one with 32 pages of colorin print. A Kindle edition is planned too.Branching Out withContentAfter the initial success of her Czechbooks, Liffring-Zug Bourret pursued16 | IBPA Independent | February 2013

Self-Publishing Successtitles with German, Norwegian, Swedish, Danish, Finnish, andUkrainian themes.“We were commissioned by HarperCollinsto produce Italian American Waysand Polish American Ways,” Liffring-ZugBourret says. “When those two bookswent out of print and the rights revertedto me, I repackaged and reissued thePolish title. With its new larger format,the Polish-American book, retitled PolishTouches, was chosen by public televisionstations as a membership premium in the 1990s.” Penfield’sGerman titles have also been national TV premiums.Some titles are reissues of bookslong out of print despite strongethnic interest.Penfield titles such as Polish Folklore andMyth resulted from contacts the couplehad with ethnic artists and specialists.Other titles are reissues of books long outof print despite strong ethnic interest.“We have a proverb series, for example,”Liffring-Zug Bourret points out, “andwe brought works back in print by theNobel Prize-winning Swedish author Selma Lagerlöf, includingGösta Berling’s Saga and The Wonderful Adventures ofNils. We also brought out her Memories of Mårbacka back inprint.” In autumn Penfield Books launched Augusta’s Daughter:Life in Nineteenth Century Sweden, and author Judit Martin’sarrival in Iowa City for a couple of weeks of appearancesand a visit with the publisher.There’s far more to Penfield than ethnictitles, important as they are, as Liffring-ZugBourret explains as she talks about FindingMy Way, a humor book purportedly writtenby her dog that features people whosleep with their dogs. “And we publisheda collection of my photographs of peoplewho are happy,” she adds. Other humortitles include CDs such as Holy Hysterics:Bible Study, Laughter Workout, Silly Singing, and Guided Meditationby a Lutheran minister, “Laughing Laura” Gentry.■2013NAUTILUSAWARDSstill time to enterA prestigious Awards Contestfor Books that express new waysof thinking and healthy, naturaloptions for living sustainably andpeacefully together.Benefits include Cash Prizes forGrand Winners, Plus Exhibit &Marketing Opportunities for all Winnersenter noWYoU mAY HAVe A Winnerwww.nautilusbookawards.comFor Guidelines, Benefits, Categories—and moreThe Nautilus Books are creating a library ofknowledge that will change our world...—GreGG BrAdenExpand your MarketsIncrease your Revenue!Come with us to Paris!Interested in Selling InternationalTranslation Rights for Your Titles?We make it easier for you to bringyour titles into the marketplace morequickly and absolutely faithful to youroriginal release – the way you wouldwant them to be seen.Whether to or from English or any otherlanguage pair, you never have to worryabout the foreign rights buyer changingthe "look and feel" or original "voice"of your title.We’re going to be at the Paris Livre book show from March 21-25and will be meeting with foreign publishers negotiating translationrights for markets world-wide. We can arrange to show your titlesand catalogs and send back daily contact reports for your follow up.Sound Interesting?Give us a call or send us an email for more information.www.ranchopark.com • (919) 942-9493 • ranchopark@gmail.comibpa2013Visit the IBPA Website at www.ibpa-online.org | 17

■Self-Publishing SuccessQuantity as low as 1- Perfect Binding- Plastic Coil Binding- Wire-O Binding- Saddle Stitch- Case Bound- UV CoatingHERCULESTruck & TrailerAre your FREIGHTCOSTS TOO HIGH?CALL USFOR FREEQUOTES!Toll Free: 888-909-970314730 Central Ave., Chino, CA 91710http://dp.beaconstar.comEmail: dp@beaconstar.comOur book rates are already the lowest;THEN we discount an additional 77%.Let me assist you in your freight needs . . .Dick Hampton Toll Free: 800-701-7998www.dickhampton.com dickhampton@frontiernet.netYour ONE STOP SHOPfor all your printing needswith quality & serviceyou can rely on.FREE 1000 FLYERSFOR IBPA MEMBERS ONLYon 3200 or 4000 QTY ordersFREE shipping on 1000 qty orders**AVAILABLE ON MOST ITEMSFREE shipping to IBPA Mailing HouseGet Additional5% OFFon your 2nd flyerfor IBPA mailing.Qty: 3200 4000 72004/0 $230 $244 $3664/4 $282 $300 $418Penfield’s regional titles cover such topics as Iowa’s roundbarns, the Amana Colonies, Old Order Amish, and MidwesternChristmas traditions. The company also publishes manycookbooks with themes such as Colorado and Texas. And, ofcourse, there are the photography books, most notably thepublisher’s own acclaimed Pictures and People: A Search forVisual Truth and Social Justice. Besides print, Penfield makesmany titles available as e-books.Branching Out with ServicesPenfield also distributes for others on a nonexclusive basis,including children’s books written by Jan Brett and publishedby G.P. Putnam, which she believes are ideal for her specialtyretailers. “I love Brett’s art and books and wanted to introducethem in a market not familiar with her. It took aboutthree years for our Scandinavian outlets to order them in anyquantity,” the publisher says.“It sometime takes three years to get many of our titles flyingout the door,” she adds. “When we are about to give up, themarket is finally there. Patience is a good trait if it’s affordable.”What helps make patience affordable for Penfield is havingmore than 100 titles available in stock, strong regional tourismrelatedbooks, and distribution for other publishers. Penfieldalso packages about one book a year for an author. “The authorswho approach us first pay a consulting fee to see if the book haspotential in our opinion, and whether the subject is suitable forhaving Penfield Books as the publisher,” she explains.Penfield also watches its receivables, and that means refusingto ship to wholesalers with past-due balances. Although it doessell to chain stores through Partners, the company sells directlyto about 500 individual outlets as well as to online retailers.And Liffring-Zug Bourret continues to look for more: “Weprint a new catalog every other year and we send these alongwith ethnic-theme magnets and postcards to our regular wholesalecustomers and also to prospects we’ve found in regionalmagazines.” Succession plans? You’d think Liffring-Zug Bourretmight have considered them. But I didn’t get a chance to ask.She was too busy getting ready for that lengthy visit with novelistJudit Martin and the launch of Augusta’s Daughter. ■800-779-1158Tel: 818-988-1882Fax: 818-988-3882Customer Service 7:00AM to 5:00PM PTsales@separacolor.comWWW.SEPARACOLOR.COMLinda Carlson writes from Seattle, where she celebrates her Norwegian heritage on May 17,Norwegian Constitution Day, when an entire neighborhood closes its streets for the 100-plusentries and 20,000 spectators in the Syttennde Mai parade.18 | IBPA Independent | February 2013

p u b l i c i t y:A Five-PartBasic Programby Julia DrakePublicity is the art of building awarenessof a book and platform with itstarget audience. The objective is togain positive coverage by connectingthe media with the audience. Coveragemay include reviews, interviews,feature articles, guest articles, op-eds,and mentions of the book, the author,and/or the publisher and any relatedbrand/platform.Ideally, publicity will translate intosales, and, like sales, it is a subset ofmarketing. Many publicists today alsofunction as marketers in that they helpthe publishers and authors they workwith create and build platforms. Theprocess starts with a marketing planthat includes publicity, social mediamarketing, and other promotional servicesdesigned to connect with targetmedia and audiences.Why does a book need publicity?Because it can be the greatest product inthe world, but if nobody knows aboutit, it won’t sell. It’s like the proverbialtree falling in the woods. In today’s fastpacedworld of technology, where consumerattention has become increasinglyfragmented, the “mainstream” isgiving way to a stream of hyper-individualizeddigital experiences.It’s important tocome up with a PRcampaign at leastsix months beforepublication date.A good publicist has relationships withthe media that help generate coverage.This is especially the case in establishedmedia outlets, where people are morelikely to act on a pitch from a publicistthey trust than on an unsolicited queryfrom someone they don’t know.If you’re planning to hire a publicist, beaware that fees vary greatly, dependingpartly on the length of engagement andthe complexity of the campaign. In myexperience, the average book campaignruns from three to six months with aflat monthly fee, which ranges from$250 to $10,000. Some publicists maybe willing to charge by the hour.Find out about reporting processes as wellas about fees. You’ll want to have regularupdates—both positive and negative.I recommend looking for an independentpublicist or publicity firm in yourarea. It’s easier to stay in close touchthroughout a publicity campaign if youcan have in-person meetings and if youdon’t have to deal with time zones.Whether you outsource or rely onstaff, the five-point plan that followsshould help you build publicity for anygiven book.✦ Manage TimingTiming is everything. All elements ofa publicity campaign—your ownVisit the IBPA Website at www.ibpa-online.org | 19

■Publicityattention, the public’s attention, and the media’s attention—should be carefully orchestrated around a book’s release date.The release date also puts a time stamp on the material. Likethe aroma of fresh-baked bread, the date stimulates hype andexpectations, promising something to look forward to.This is why it’s so important to strategize and come up with aPR campaign at least six months before publication date.✦ Develop Your OnlineMessage and BrandPositioning a book with media and consumers requires a professionalWebsite. Both consumers and media professionalswill visit a book’s site before engaging further with the book,and the media people will need to check it out months beforepub date.Since the site should reflect the book, the author, and thepublisher accurately and professionally, it makes sense toseek the help of a Web designer unless you have a knack forvisual design and are tech savvy.A book’s Website needs five key pages: About the Author,About the Book, Appearances, Media, and Contact. Effectivesites often have other pages as well. [See “What Publishers’Websites Can Do, Part 3,” page 33 of the January 2013issue, and the first and second installments of that series inthe November and December 2012 issues.]The site should be integrated with activity on social medianetworks, and its content should be social media–friendly.Make content easy to share by including links to Twitter,Facebook, and other social media sites.Blogs can be beneficial, even wonderful, if an author cancommit to creating original and relevant content every week.Affordable PR/CommunicationsPrograms and Services• PR Web (prweb.com)• Bulldog Reporter (bulldogreporter.com)• Book Blogs on Ning (bookblogs.ning.com/?xg_source=badge)• Book Blogger Directory (bookbloggerdirectory.wordpress.com)• FSB Media Blogger Directory (fsbmedia.com/book_blogger_search.php)Use an email marketing tool (forexample, ConstantContact.comor MailChimp.com) to send aseries of announcements.✦ Build Your Social Media PlatformWhen you choose to blog and/or use Facebook, Twitter,LinkedIn, Pinterest, and the like, start early, as with the Website.Publishers and authors who are not yet active on socialmedia sites should become active three to five months beforepublication date.✦ Plan Your Media CampaignCreate a targeted list of print, online, and broadcast media inlocal, regional, and national markets. Offer a copy of the book tolong-lead media (print magazines, TV and radio shows) at leastthree to six months before publication date. Online media andbloggers usually work on shorter lead times, often two months.You may want to sign up for NetGalley or a similar onlinesharing service to allow media professionals and bloggers todownload and review your book.Use an email marketing tool (for example, ConstantContact.comor MailChimp.com) to send announcements toyour email list(s) before the release of a book. Space theannouncements, sending one a month before pub date, one acouple of weeks before pub date, and one on pub date.Both publisher and author should engage their social medianetworks to create buzz for the launch with contacts, fans,friends, and family. Tactics can include asking people to postAmazon reviews and/or blog reviews, and asking them toshare reviews on their social media networks. You might alsowant to offer a free book or some other prize as an incentive.Blog reviews are a great option for do-it-yourself publicityprograms because there are so many bloggers (see AffordablePR/Communications Programs and Services in box atleft) and because bloggers are often open to approaches fromauthors. Of course, before any approach it’s important to (a)check a blogger’s review policies and reading preferences and(b) vet the blog to make sure it is legit (check a couple ofreviews; check followers, social media reach, and so on).Once you find blogs you think are right for a book, browse20 | IBPA Independent | February 2013

Publicity■Resources for Finding Publicists• bookmarket.com/101pr.htm• midwestbookreview.com/bookbiz/pub_mkt.htmtheir blogrolls. Often, you will find nice long lists of otherblogs in the same genre.✦ Measure Your ResultsRefer to your Amazon rankings, Website analytics, socialmedia reports, and Google Alerts to track the effectiveness ofall elements of your publicity campaign (as well as the otheraspects of your marketing program) and adjust your strategyaccordingly. ■Julia Drake is the founder and owner of Julia Drake PR, a boutique literary publicity companythat specializes in customized print, online, and broadcast campaigns, social mediamarketing, book events, blog tours, promotional video services, and author Websites. Thisarticle is adapted from Julia Drake’s contribution to Successful eBook Publishing: The CompleteHow-to Guide for Creating and Launching Your Amazon Kindle eBook, by David Wogahn; seeSuccessfulEBookPublishing.com.So you think ifyou change it enough,it’s not infringing?Keep our number close at hand.Protecting Creativity & Innovationfor Over 140 Years.We assist publishers withPublishing Contracts | Copyright Matters | Branding and TrademarkRights Clearence and Permissions | Licenses and EndorsementsPre-publication Review | Releases | More...2700 Carew Tower | 441 Vine Street | Cincinnati, Ohio 45202-2917tel 513.241.2324 | fax 513.241.6234 | www.whe-law.comLLPimaginative • artistic • expressiveA signature identifies the creator of the work.Make your books identifiable with exceptional quality and creative cover treatments fromMcNaughton & Gunn,Every book is a masterpiece. Guaranteed by our signature.734.429.5411fax: 800.677.BOOK(2665)www.bookprinters.comM&G EarthCareVisit the IBPA Website at www.ibpa-online.org | 21

MARKETING OPPORTUNITIESIBPA DIRECT MAIL PROGRAMSFOR IBPA MEMBERS ONLY • REGISTER ONLINE AT www.ibpa-online.org, USE FORM BELOW OR CALL 310/546-1818LIBRARY MAILINGSPublic Library Deadlines❏ March 31❏ May 31❏ July 31K–12 Library Deadlines❏ March 15, 2013❏ September 15, 2013College, Jr. College &University Library Deadlines❏ March 15❏ June 15COOPERATIVE CATALOGSBooks for Review Deadlines❏ April 15❏ July 15Bookstore Mailing Deadlines❏ April 30❏ July 31Target Market Mailing Deadlines❏ Crafts/Hobby/How-To. ........................February 15❏ Travel/Adventure & Sports/Recreation ...........February 28❏ New Age/Metaphysical ......................... March 15❏ Parenting/Family .............................. March 30❏ Psychology/Self-Help ............................ April 30❏ Fiction/Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 30❏ Children’s/Young Adult. ...........................May 15❏ Holiday/Gift. ....................................May 31ABOUT THE LIBRARY FLYER MAILINGSThe Library Mailings are separated into 3 categories:Public Libraries mailed bi-monthly to 3,900 libraries;K–12 Libraries (Kindergarten–12th Grade) mailed twice a year to 4,000 libraries;College & University Libraries mailed quarterly to 3,200 libraries.The library mailings contain flyers which publishers provide and are grouped with other flyers andmailed in a large envelope with a cover letter from IBPA. The flyers must be a standard 8½” x 11”unfolded sheet. Participants are included and will receive a complete copy to track deliverability time.It is suggested that publishers avoid offers that are “time-sensitive.” Programs mail 3rd Class Bulk mail.Approximate delivery time of program is 30–45 days after deadline date.See www.ibpa-online.org for more information. After registering for thelibrary mailing program, you will receive mailing instruction for your flyers.ABOUT THE COOPERATIVE CATALOG MAILINGSIBPA designs this newsletter-type, full color catalog,featuring your front cover, along with a 100-word descriptionof your book. All members will receive a copy of the programas soon as it mails. Programs mail 3rd Class Bulk.Approximate delivery time is 30–45 days after deadline date.BOOKS FOR REVIEW mails quarterly toapproximately 3,000 book reviewers at newspapers,magazines, Web sites, blogs, radio and television shows.BOOKSTORE MAILING mails every quarter to3,400 independent bookstore and chain buyers across the U.S.TARGET MARKET MAILING mails to 3,000 genre-specific reviewers;3,400 genre-specific book-buyers; and 3,900 genre-specific acquisition librarians.Total print run is 10,300.See www.ibpa-online.org for more information. After registeringfor the cooperative catalogs you will receive theinformation needed to participate.Check programs you wish to participate in, include registration form and appropriate fee(s). It is possible that a mailing you register for may be changed or rescheduled.Send or fax to IBPA • 1020 Manhattan Beach Blvd., Suite 204, Manhattan Beach, CA 90266 • 310/546-1818 • Fax 310/546-3939 • Email info@ibpa-online.orgLIBRARY MAILINGS: Check month(s) above❏ Public Library – Amount Due .................. $$215 general program; 3,900 unfolded flyers required❏ K-12 Library – Amount Due..................... $$215 per program; 4,000 unfolded flyers required❏ College, Jr. College & Univ. – Amount Due .. $$215 per program; 3,200 unfolded flyers requiredCOOPERATIVE CATALOGS: Check month(s) above❏ Books for Review – Amount Due ..........$$210 per title per program • I wish to display titles.❏ Bookstore Mailing – Amount Due .........$$230 per title per program • I wish to display titles.❏ Target Market Mailing – Amount Due ....$$350 per title per program I wish to display titlesCOMPANYADDRESSCITY, STATE, ZIP❏ CHECK ENCLOSED IN THE AMOUNT OF $OR BILL MY ❏ MC ❏ VISA ❏ AMEX IN THE AMOUNT OF $CARD NO.PHONEFAXEXPIRATION DATESECURITY CODEEMAIL/WEB SITENAME ON CARDCONTACT PERSONSIGNATURE22 | IBPA Independent | February 2013

IBPA STAFFED EXHIBITSBookExpo (BEA) 20135/30/2013 - 6/1/2013Jacob Javitz Center, New York, NYBookExpo has moved into the weekend for 2013: Thurs - Sat. IBPA has again secured a goodlocation on the show floor. If you want to get your title in front of bookstore buyers, a selectlibrary crowd, radio and television show producers, magazine editors, catalogers and otherpremium buyers, AND a select grouping of foreign rights licensing agents, this is the showwhere you should display your book.If you are interested in having your individual title(s) displayed at the IBPA booth andrepresented by IBPA staff, you can sign up at this time. We will need one copy of your titlefor this show.As always, if possible, it’s a good idea to attend the shows at which your title is displayed.IBPA can secure a discounted or FREE (Displaying Author) ticket to this show if you decideto attend. That information will be sent with your title registration.Reservations are being taken for multiple booths, a full booth, or a shared booth within theIBPA complex of booths on the floor.Full booth (10’ x 10’): $3,950 (Deposit at reservation: $1,975); Shared booth (5’ x 10’):$1,975 (Deposit at reservation: $987.50); Individual title: $125DEADLINE for booths: First come, first served; DEADLINE Individual titles: April 15, 2013MARKETING OPPORTUNITIESVISIT www.ibpa-online.orgFOR MORE INFORMATIONAmerican Library AssociationAnnual Conference 20136/28/2013 - 7/1/2013 • McCormick Place, Chicago, ILThis annual ALA show attracts all types of librarians...from the public, private and schoolsector across the country and throughout the world. IBPA has a small block of booths reservedfor this show, and if you would prefer to have a full booth or share a booth withanother IBPA member, now is the time you should sign up for this event.If you would prefer to display your title or titles within the IBPA staffed complex, wheretitles are displayed face-out in specific genre with a special catalog developed for this showfor the librarians, the cost per title is $125.00.It’s always a good idea to attend a book show if you can and IBPA can arrange for badgesfor those who request them in advance of the show. There will also be an opportunity todo a book signing or demonstration at this show.If your book does well at libraries, this is one show you will not want to miss. This is a greatshow for most IBPA members’ titles. Public, academic, foreign and corporate librarians attendthis show annually and it’s the largest librarian show in the nation. We will need onecopy of your title for this show.Cost for Full booth $2,500.00 (1⁄2 payment – $1,250.00); Cost for Shared booth:$1,250.00 (1⁄2 payment – $625.00); Cost for individual title: $125.00.We will need a 1⁄2 payment for booths at this time.DEADLINE for Booths: First come, first served.DEADLINE for Individual titles: April 15, 2013NEW! IBPA/INGRAM PROGRAMIBPA partners with Ingram to offer you TWO opportunities to help sell more books and gain access to Ingram’s wholesale system for single-book (or more) publishers.1. THE INDEPENDENT VOICE*Deadlines: 30 days in advance of the mailing (e.g. the deadline for the March/April 2012 mailing would be February 1).2. ADVANCE MAGAZINE*Deadlines: 90 days in advance of publication (e.g. deadline for the June issue is March 1st. June issue mails in late April.)*Your title(s) must be listed with Ingram and in the iPage system in order to participate in this program. For more information about these programs and how to join the Ingram Wholesale Distributionprogram, please see https://www.ibpa-online.org/programs/ingramprogram.aspx.FOR IBPA MEMBERS ONLY • REGISTER ONLINE AT www.ibpa-online.org, USE FORM BELOW OR CALL 310/546-1818STAFFED EXHIBITS❏ Book Expo (BEA) 2013❏ Full Booth: $3,950 ( ) .....................$❏ Shared Booth: $1,975 ( ) .....................$❏ Individual Title: $125 ( ) .....................$❏ American Library Association Annual Conference 2013❏ Full Booth: $2,500 ( ) .....................$❏ Shared Booth: $1,250 ( ) .....................$❏ Individual Title: $125 ( ) .....................$IBPA/INGRAM PROGRAM❏ VOICE $350 per title ( ). ......................$I wish to subscribe forbi-monthly issues beg.10% Discount for 3 or more runs .................$Check programs you wish to participate in, include registration form and appropriate fee(s).Send or fax to IBPA • 1020 Manhattan Beach Blvd., Suite 204, Manhattan Beach, CA 90266310/546-1818 • Fax 310/546-3939 • Email: info@ibpa-online.orgCOMPANYADDRESSCITY, STATE, ZIPPHONEEMAIL/WEB SITECONTACT PERSON❏ CHECK ENCLOSED IN THE AMOUNT OF $OR BILL MY ❏ MC ❏ VISA ❏ AMEX IN THE AMOUNT OF $FAX❏ ADVANCE $350 per title ( ). ...................$I wish to subscribe formonthly issues beg.10% Discount for 3 or more runs .................$CARD NO.NAME ON CARDSIGNATUREEXPIRATION DATESECURITY CODEVisit the IBPA Website at www.ibpa-online.org | 23

Changing Printersin Midstreamby Walt “Stryke” ClaytonAfter I decided to self-publish my parodyof nature field guides, the secondcritical decision I made was that productionvalues would be the highestattainable. Stryke’s Buns Guide: A FieldGuide to Buns of the World had to becomparable in every way to the superbvinyl-covered guides used by millionsof naturalists worldwide. And in caseyou’re asking yourself, Does he meanthe kind of buns I’m thinking he means?Yes, I do. I got the idea for my clean,fun guide when I was leading a groupof birdwatchers and wildlife photographersthrough Patagonia, but it doesn’tfeature birds or plants or snakes; itfocuses solely on female behinds.I no longer feltconfident that I’dget the beautifulbook I knew waspossible, and I lost alot of sleep.Back in 2002, I queried several domesticprinters and quickly determined thatthe one best suited to deliver the specialcolor printing and vinyl cover I absolutelyhad to have was the companyalready producing the most popularbirding guides. This was a huge globalJapanese firm, and, in addition to specialexpertise in printing field guides,it offered a price amazingly lower thanany U.S. quote. So, even though I hadhoped to keep production in the UnitedStates, its offer was too good to refuse.Trouble in ParadiseThen, a series of events graduallychipped away at my confidence in thisprinter and the technical expertise ofits U.S. reps.The first major problem occurred overtime and centered on simple communication.My first reps understoodclearly what I was trying to achieve andsaid they could deliver. But frequentturnover of reps within the U.S. divisionmeant that once I had a good relationshipgoing with one and we hadsolved language-barrier problems, thatperson would leave the company or betransferred elsewhere. So it was backto square one, often with a rep whosefirst language was neither English norJapanese. Inevitably, things got lost intranslation. Confusion reigned.It was critical for me to get preciseanswers to technical questions fromthe rep and plant. I was using QuarkXpress,and I needed exact specs to becertain that no major last-minuteglitches would shut down the projector require a total redo. That wouldhave been catastrophic.One set of problems involved colorprofiles. It took several inquiries tonail down the specs, and I still had mydoubts. Then color proofs of photoswere slow in coming, and not free; theprinter’s accounting department hassledme repeatedly for a resale number thatwasn’t really necessary; and when thecolor proofs did come, they weren’t spoton, which meant they had to be redoneat extra expense and with another delay.I was diverting far too much time,money, and mental energy away fromwhat I should have been doing—polishingtext and imagery. I no longerfelt confident that I’d get the beautifulbook I knew was possible. I dreaded amajor error, and I lost a lot of sleep.What saved me was pure serendipity.Acting on a New CueI was in my local Barnes & Noble lookingat nature guide covers for ideas to24 | IBPA Independent | February 2013

Printers■incorporate in mine when, on impulse, I flipped to a copyrightpage and found to my surprise that the printer was not the oneI was using. Were there two printers with the same specializedexpertise? Indeed there were, and the one I had just discoveredwas Toppan Printing, which I’d never heard of.So I got on the Internet and did my due diligence. Anotherbig Japanese company. Plant in China. State-of-the-art technology.Worldwide operations. And—lo and behold!—a repin Marina del Rey, CA, just a quick hop from my Las Vegasbase. It sounded too good to be true.tweaks. Tom suggested a cellophane wrapper instead ofshrink-wrapping, saving me $800. Packing in larger cartonssaved hundreds of dollars more. Was this some publisher fantasycome true?Although I’m a stickler for detail, I was able to approve thenext set of color proofs; the plant had deftly handled correctionsof the inevitable typos and my accent and italics correctionsper Tom’s direction. Then Tom unexpectedly offered tohave my logo printed on the vinyl cover at no extra charge,and he had tests run to make sure the paint would adhere.I fired off an exploratory email, explaining my situation inbroad strokes. Would this be another can of worms, or wouldit be my salvation? After a weekend on pins and needles, I gota call from Tom Hummel, Toppan’s West Coast U.S. sales rep.Calm, soft-spoken, and technically savvy in perfect English(he’s a native Vermonter), Tom listened to my woes andoffered to send a quote based on the book’s specs. That quotecame in about 45 percent less than the one I had gone with,and Tom also provided suggestions for better stock andpromised he would FedEx samples immediately. I entereda pleasant state of disbelief, wondering how long this goodthing would last.Over the next few months, things moved fast. While my firstprinter dawdled on getting back about further proof tests,Toppan was cranking them out free, air-freighting themdirectly on the recommended stock, and creating a newmockup of the book. When the first proofs arrived I tore intothe package, but not without some trepidation. My worrieswere for naught. The proofs were stunning.So now I faced a dilemma: how to notify my original printerthat I had decided to switch? The solution? Just be straight.So although that first printer still indicated strong interestin doing my book, all communication ceased after my emailcalling the deal off. Since there was no contract between us,either written or oral, the transition was total and painless,and a massive relief.With Toppan fully committed, Tom and I forged aheadat warp speed. Info requests and technical questions wereanswered swiftly and accurately, in consultation with Toppan’splant in China when necessary. I could actually understandevery communication the first time.A second batch of color proofs arrived needing only minorVisit the IBPA Website at www.ibpa-online.org | 25

■PrintersPicking a PrinterMyriad factors weigh when choosing a printer. Four warrantspecial focus right from the get-go, to spare you theconsequences of a major systemic blunder.1. Using the right software. It’s crucial from Day Onethat the composer of your book be on the same pagetechnically as the printing plant. Anyone laying out yourbook—especially one heavy with photos, graphics, andtext that require specific positioning—must know withcertainty that its printer can handle it.Does the printer use QuarkXpress or InDesign or somethingelse? What versions? You don’t want to put inmonths of arduous configuring only to find out that yoursoftware is outdated or discontinued. You may need toupgrade, or even buy an entirely new program with itsown learning curve.Regardless, time and money spent getting this right in thebeginning will pay off big-time in peace of mind and a harmoniousrelationship with the tech folks.2. Talking apples and apples. The devil—or hellitself!—is in the details, any of which can trip you up.Never assume that the plant uses a particular spec justbecause others do. Many, for example, have their owncolor profiles for converting images. Find out exactlywhich one your printer uses, and test it. What dpi does itrequire? Do files have to be in CMYK or RGB mode? TIFor JPG or PSD? Don’t guess, check.And if a language barrier is creating confusion, holdeverything. Question what you don’t understand untilyou do, and even change reps, or printers, if you don’t getthe answers you need.3. Making your rep love you. Sales reps work first fortheir company, not you. But a rep who respects and trustsyou will cut you slack when you need it most, go aboveand beyond to make the process smoother, and offer servicesthat others might not get.Doing your homework so you understand the printingprocess and demonstrating respect and integrity will usuallytilt a rep in your favor. Over time, your rep will genuinelyhave your interests at heart, which will manifest ina volunteered cost saving here, an extra printing servicethere, and so on. It all adds up to a better product and awin-win relationship.4. Knowing what your printer will provide. Because Ididn’t ask, I made the mistake of not looking beyond theconfusing specs for printing my book and the per-copycost. Only later did I find out that test proofs were extra,and several would be needed. My logo on the cover?Another charge there, too. All of which was included at noextra charge when I switched printers midstream. Lessonlearned: check every service and material used, and comparewith what the other guy is offering.The jacket came out gorgeous and vibrant. I approved it too,and Toppan was ready to roll presses.Buns Done!One last matter hung over us like the sword of Damocles. Weneeded final approval by the Chinese censor. Of course, mybuns guide reveals exposed skin in several shots, and eventhough they’re all in good taste, we worried that a prudishExalted Censor might ding us. Anticipating the possibility ofa total shutdown, Tom lined up a second printing plant inHong Kong; but, as it turned out, the book was cleared withnary a comment.Things were going so well that I decided to have Toppan producemy point-of-purchase display, which holds 20 copies ofmy guide. A different plant was used for that, and when a colorcorrection was needed that it couldn’t handle, Tom and anassociate did the work in Marina del Rey. Later, Tom arrangedto combine both jobs for shipping to reduce transport and customsfees to the minimum, cutting costs even further.This above-and-beyond attitude is so rare these days that Ifloated continually in a state of gratitude. Had I not made theswitch, I doubt that my buns guide would be in print today.Because I did switch, it came out better than I had ever hoped,which people remark on when they flip through it, looking atthe images and laughing at the text. I’ve never met Tom inperson and don’t even know what he looks like. But what Iknow for sure is that he’s the go-to guy for my next book. ■New IBPA member Walt Clayton is a multicareer screenwriter, wildlife film producer, anddiver/production manager on major underwater feature films. He started Callipygean Pressin Las Vegas to self-publish his pet project, the buns guide he researched and wrote for overa decade between movie jobs. He reports that the learning curve was steep and exciting, andthat he is happy to share his experiences at stryke@bunsguide.com.26 | IBPA Independent | February 2013

The Languageof Publishingby Linda CarlsonThis is the fourth installmentof our glossary of publishingterms, which is designedto help publishing veterans,industry newcomers, andtraditionally published authorsexperimenting with selfpublishing,whether print ordigital. Our goal: to define oldand new words and phrasesthat anyone involved in 21stcenturypublishing needs tounderstand.We’ve included some of theterms Joel Friedlander definesin his bookdesigner.com post,“The Language of the Book,”and some that Pete Mastersoncovers in his Book Design andProduction, as well as termsthat industry specialists tell usare frequently misunderstoodand jargon that members reportas confusing.For A through I, see the August,October, and December2012 issues of the Independent.The next part of the glossarywill appear in April.Please let us know via linda@ibpa-online.org if we miss, ormisconstrue, a term. And ifyou’d like us to add a particularterm or terms, let us knowthat too. When the glossary iscomplete, it will be available asa single publication.For an advanced degree ineverything from abridgmentto X-height, you’ll find moreresources at the end of eachinstallment of the series.P.S. The terms printed in orangein a definition are defined(or will be) elsewhere in theglossary.JJPEG: Joint PhotographicExperts Group, the graphicfile format created by digitalcameras and used on Websites. A JPEG (or JPG) doesnot offer the same potential forresolution as a TIF, and so isnot recommended for printedwork. JPEGs can be convertedto TIFs, but the conversion willnot improve the resolution.Justify: Type with spacingadjusted between wordsso that each line is flush, oraligned, with both left and rightmargins is justified. In contrast,some type is flush left andragged right.Justified Type: Type withspacing adjusted betweenwords so that each line isflush, or aligned, both leftand right.Flush Left, Ragged Right:Type where each line isflush, or aligned, left.Just-in-time: An inventorystrategy that can improve abusiness’s return on investmentby reducing inventoryof raw materials and materialsused in processing, alongwith their associated carryingcosts. In publishing, the termrefers to printing one copy ora few copies as orders arrive,or to printing a short run immediatelyafter an order for,say, 100 copies is received.POD, print-on-demand, is anexample of just-in-time manufacturing.KKerning: Adjusting the spacebetween letters. One of themajor differences betweentypewritten text and typesettext is the kerning, how theletters fit together. “WA,” forexample, has less space betweenthe letters when typesetthan when typewritten. Suchdesktop publishing programsas InDesign allow letters to bekerned, even to the extremethat parts of one letter overlapparts of adjacent letters.Keywords: Online spiders—the software that indexesWebsite text for search engines—oftenfind relevantsites using the keywords siteauthors have entered near thebeginning. The IBPA Websiteuses such keywords as “bookpublishing association,” “publishinga book,” and “publishingassociation.” The keywordson IBPA President FlorrieBinford Kichler’s Websitefor Patria Press include namesspecific to Patria’s titles:“amelia earhart, william henryharrison, ben-hur, lew wallace,james whitcomb riley, juliettelow, eddie rickenbacker, mahaliajackson, george rogersclark, john hancock, philliswheatley, abner doubleday.”PublishingOrganizationsABA, BIC, CCC, anddozens of other key bookindustry associations aredefined and described inthe Book Industry StudyGroup’s Roadmap of OrganizationalRelationships,version 2.0 (bisg.org/whatwe-do-18-33-roadmapof-organizational-relationships.php),which is freeat bisg.org.Using the Roadmap’slinks to Web sites, youcan find various valuableresources. For example,the American BooksellersAssociation site has a directoryof member stores,and, via the “education”tab, a list of regional booksellertrade shows; andthe American Library Associationsite has, amongother things, a fact sheetabout 120,000 librariesof all kinds in the UnitedStates today.Kill fee: Some publisher-authorcontracts provide for theauthor to receive some paymentif a manuscript is neverpublished. The practice ismore common with magazinecontracts.Knockout: To ensure that colorsare reproduced accuratelywhen multiple inks are used ona print job, color separationsmay have areas blocked,Visit the IBPA Website at www.ibpa-online.org | 27

■The Language of Publishingor knocked out, so that theywill not be covered with ink.Portions that are knocked outmay appear in the color of thecover stock. Knockouts are importantbecause they preventthe color of a final ink such as apastel from being distorted byan earlier bright or dark color.LLarge print: Usually 18- or20-point type, large enough forcomfortable use by some readerswith visual impairments. Informationabout preparing materialsfor the visually impairedis available in “Best Practicesand Guidelines for Large PrintDocuments Used by the LowVision Community,” providedby the Council of Citizens withLow Vision International, an affiliateof the American Councilof the Blind, cclvi.org/largeprint-guidelines.html.Laminated: When a thinplastic film is applied to theoutside cover of a book toprotect the surface (say, fromfingerprints or moisture) andenhance the appearance. Alsosee Coating.Laser printing: Typically doneby a desktop printer that, likea photocopy machine, uses anelectrostatically charged drumand toner to produce an imageon paper. Contrast with offsetlithography, which involvestransferring ink in a press froma printing plate to a rubberblanket to paper—a processwith more expensive makereadyand press cleanup thatis suitable for longer runs.Laser proofs: Paper outputfrom an electronic file; used asfinal proof before printing. Alsosee bluelines.Layflat binding: The processcreates a flexible spine sopages lie flat when a book isopen; popular for cookbooksand how-to books, when directionsare likely to be read asa project is in process. Brandsinclude Otabind and Repkover.Layout: The depiction of adesign (as in “laying out thecover”). Also, what desktoppublishing software creates asan electronic substitute for thecomprehensive, or pasteup.For additional reading:BISG Rights Controlled Vocabulary, bisg.org/docs/BISG%20Rights%20Controlled%20Vocabulary%201.0.pdfBook Design and Production: A Guide for Authors andPublishers, by Pete Masterson, Aeonix Publishing GroupBookmasters Publishing 101 by Bookmasters,bookmasters.com/authors.htmlDon’t Let Me Find You Bleeding in the Gutter: UnderstandingBook Terminology by Joel Friedlander,thebookdesigner.com/2011/06/dont-let-me-find-you-bleeding-in-the-gutter-understanding-book-terminologyNeenah Paper’s Glossary of Paper Terms, neenahpaper.com/resources/glossarytermsPBI Print Buyer Glossary, printbuyersinternational.com/resources/print-buyer-glossaryLeader: A title the publisherexpects will have high sales.Large publishers give leaderssignificant promotional support,including money for advertisingand author tours.Leading: The space betweenlines of type. Pronouncedas “led,” it is expressed as abaseline-to-baseline measure.Nine-point type leaded outat 12 points will be written as9/12 or phrased as “set 9 on12.” The space comes betweenthe descenders of a lineand the ascenders of the nextline. Type set 9/18 will havemore space between linesthan type set 9/12 or 9/14.Type leaded too tightly will behard to read. The term derivesfrom the narrow metal stripsthat separated lines of metaltype in early typesetting.Letterpress: Today used mostoften for high-quality short-runjobs such as invitations andpersonal stationery, letterpresswas the primary method ofprinting everything for 500years, starting with Gutenberg.It was replaced for long-runand large jobs by offset lithographyin the mid-1900s. Alsodefined as relief printing, letterpressuses raised printingsurfaces such as those createdby the Linotype and otherhot-metal typesetters or byengravings.Library binding: A reinforcedbinding offered by specialtybinderies. Publishers orderinga large quantity of booksbound for library sales mayhave them prebound; otherscan order extra covers to beused for rebinding paperbacksonce their original spines arecut off. Names of some librarybinders can be found on theLibrary Binders Institute Website,lbibinders.org.Line art: Images created witha single color and withouthalftones. Usually black-andwhitedrawings. Most clip artis line art.Lines per inch (lpi): This measuresthe resolution of a halftoneor line screen. The higherthe lpi, the finer the screen andthe sharper the image. SeeDots per inch.Logo: a graphic representationof an organization’s name. Oftenpart of its graphic identityin spine artwork, letterhead,catalogs, and signage.Low-resolution: Low-res imagescan be transmitted electronicallyfaster than higher-resimages, but they have lessclarity, especially when enlarged,and may look blurred.Images such as stock photopreviews are provided in lowresolution for layout purposes;high-resolution images arenecessary for book production.MMake-ready: The same assetup, make-ready includes all28 | IBPA Independent | February 2013

The Language of Publishing■the tasks required to prepare apress (or other equipment) fora specific printing or bindingjob. In printing, this includesmounting plates on the pressand adjusting the registrationand the quantity of ink reachingthe printed piece. Eachsignature of a book will requireits own make-ready. One reasonthat jobs printed in blackink on house stock are lessexpensive is that make-readytakes less time and effort.Margins: Unprinted spacebetween the text or illustrationsand the edge of thepaper. The top margin is alsocalled head. Gutter is the termfor the margins between twofacing pages.Markup: Usually expressedas a percentage, the differencebetween the price paidfor something and the price atwhich it is sold. For example,a wholesaler that buys a bookfrom a publisher for 50 percentof cover price may mark it upto 60 percent of cover priceand sell it to retailers that markit up to 100 percent of coverprice, a margin (or in generalbusiness terms, a contribution)of 40 percent for the wholesaler.Retailers often talk in termsof discount (as in “from cover”or “from retail price”) ratherthan markup.Mask: A physical means,usually an acetate overlay, ofblocking a portion of an imagesuch as the background so thatthe masked portion won’t print.Masking can also be doneelectronically, with programssuch as Photoshop. Also calledKnockout; see above.Mass market paperback:Paperbacks smaller in trimsize than trade paperbacks,and usually somewhat smallerthan 5" × 8". Sometimes distributedby firms that handlemagazines and similar rackedproducts, they are oftensold in airports, drugstores,and supermarkets as wellas in bookstores at pricesfar lower than those of tradepaperbacks. Returns are usuallycredited when covers arestripped off and sent back.Minus their covers, the booksthemselves are pulped. Titlespublished only as mass marketpaperbacks may have shorterlives than trade paperbacks.Royalties for mass market paperbacksare relatively low.Masthead: A copy block thatprovides a publication’s namealong with information aboutownership and staff and oftenappears on the second pageof a newspaper and on thecontents page of a magazine.Mastheads are valuablesources of editorial contactinformation.Matte: A dull finish, the oppositeof glossy. Papers and coatingscan be matte or gloss.Measure: The width of a lineof type in a book, traditionallyexpressed in picas.Mechanical binding: Despitethe name, “mechanical” bindingusually requires handwork,unlike perfect binding.Examples include looseleafbinding, wire and plastic spiralbindings and comb binding,which is plastic. Often usedfor notebooks, cookbooks,instruction manuals, or othertypes of publications thatneed to lie flat when opened.For sales in bookstores, mostlooseleaf publications areshrink-wrapped. Wholesalersdon’t generally handle spiralorcomb-bound publicationsunless they are boxed or haveadded spines that cover thespiral or comb so book titleswill show when shelved spineout.Plastic bindings are moreeasily damaged than otherbindings and so are difficult toship without special packaging.Mechanicals: Camera-readyassembly of type, graphics, andother elements complete withinstructions to the printer, typicalprior to electronic prepress.A “hard” mechanical may alsobe called a pasteup, boards, orCRA (camera-ready art).Media: The plural of medium.Devices that package andtransmit content, includingprinted publications, tapesand records, films and television,computerized datavehicles, and social mediasites such as Facebook,Twitter, and LinkedIn.Media release: In publishing,usually an announcement ofa new title, author appearance,acquisition, or personnelchange written in journalisticstyle, so that media peoplecan use it with little or no revision.Also called news releaseand press release. Examplesand how-to’s are provided by“Using the Inverted PyramidStyle of Writing,” yale.edu/...SamplesoftheInvertedPyramidStyleofWriting (this is a Worddocument; enter the URLstring, with no spaces or hyphens,in Google’s search boxto access it).Middle reader: A book intendedfor children ages 9–11.Midlist: The term large publishersuse for titles that theythink will not be top sellers.Midlist titles are printed insmaller quantities than leadersand often have scantymarketing budgets. Booksthat would be midlist at hugehouses can sell well throughsmall and midsized publishingcompanies, where they getattention and time to developmomentum.Mockup: A preproduction depictionof material. Often usedfor decision-making, mockupsmay show text from a manuscriptin suggested typefacesand sizes or greeked text.A mockup accompanying ajob to a typesetter or bookmanufacturer will show howthe publisher expects the finishedjob to look and mayVisit the IBPA Website at www.ibpa-online.org | 29

■The Language of Publishinginclude specific instructions;for example, with brochures,it may show the direction offolds.Moire: An undesirable patternin printed images resultingwhen halftones and screentints are made with improperlyaligned screens.Monograph series: A groupof monographs, usually fromthe same publisher, eachof which has the series titleas well as an individual title.Monographs in a series generallyhave the same format andare often numbered.Monarch: The 7" × 10"-sizedpaper and accompanying envelopeoften used for personalstationery.MS: Manuscript, an author’swork as submitted for publication.■Linda Carlson writes for the Independentfrom Seattle, where she revels in obscureprinting terms when not promoting herown and others’ titles.Monograph: A publication onone topic.30 | IBPA Independent | February 2013

Negotiating Large Nonretail Sales:Part 1, Parameters for Profitsby Brian JudWhen you are in the middle of negotiatinga sale for a large quantity of books,and your prospect offers to write you acheck for a huge sum of money, shouldyou take it and get the order? Not unlessyou know whether that amount willmake the sale profitable for you. If youdo not, or if it will not, resist thetemptation. Even an enormous paymentcan lead to your losing money.A negotiated sale must be goodfor both sides if it is to set the stagefor a long-term relationship with recurringrevenue. Two things you can dobefore you enter a negotiation will prepareyou to come away with a mutuallyprofitable deal. What follows focuseson the first: Know your parameters for aprofitable order. The second, to be coverednext month, is: Have alternativesavailable. Both will help relieve pressureon you to accept a potentiallyunprofitable transaction.Data for BetterDiscussions✦ Determine your costs. Figureout the boundaries of an optimumorder for you in advance of any negotiations.That way, you will knowyour Best Negotiated Outcome(BNO) and what you can sacrificewhile still making a profit.Before you meet with your prospect,consult your printer to learn yourbook’s printing costs at a variety ofquantities. Also learn the cost of customizingyour books if you have to addthe customer’s logo to the cover and/or insert a page with its message. Findout how much time is needed to printand ship the various quantities onwhich you asked the printer to quote;although the buyer typicallypays the shipping charges,you should be able to provideestimates for specifiedprint runs.This preparation will serve you wellin two common circumstances. Yourprospect might say, “What is my priceand delivery date for 10,000 booksprinted with our logo on the cover?”You could then answer quicklyand correctly, and close the saleon the spot. Or your prospectmight say, “If you can deliver10,000 customized booksin four weeks for $3Visit the IBPA Website at www.ibpa-online.org | 31

■Non-Retail Saleseach, I’ll give you a check now.” You would know immediatelywhether you could make a profit by selling on those terms, soyou could either accept them or make a counteroffer.Figure out what you are notwilling to sacrifice in return for afavorable outcome.✦ Identify options. Price and delivery are two areas inwhich you may find yourself at odds with your prospect.When conflict arises, do not become argumentative, but donot let your prospect take advantage of you either. Take thefocus off price and delivery and place it on issues such as thoseoutlined below to find and agree on the package of product,terms, and service that increases value for your prospect withoutsacrificing your needs.Consider alternatives for each issue that might arise. Themore options you have, the more likely you are to avoid “takeit or leave it” situations and close the deal satisfactorily.Here are the steps for understanding your most acceptable BNO.1. Make a list of all the options that would be advantageousfor you. Consider, for example:• short discount• no returns• minimal customization• long delivery time• large-quantity orderThe Selling Nonretail Series“For More Profitable Publishing, Compare Two MajorMarketing Strategies,” which appeared in our Januaryissue, explains what’s involved in selling books nonreturnableto professional buyers in companies, associations,schools, and the armed services who buy largequantities. Additional guidance on negotiating suchdeals will appear next month.• opportunities for recurring revenue• payment with order2. Figure out which advantages you would prefer to give upto make a deal. If you must concede one point to closethe sale, which would it be? For example, you mightagree to add a logo to the cover if it is critical for yourprospect but a minimal factor for you, because you knowit entails little marginal cost.3. Figure out what you are not willing to sacrifice in returnfor a favorable outcome. For instance, you might have toinsist on no returns because you do not have the financialresources to print a large quantity of books if copiesmay be returned to you for credit. If you do need toinsist on no returns, you might offer a bigger discount orextended payment terms in exchange.4. Understand what could undercut your BNO. Unanticipatedpossibilities may surface during negotiations. Oneparticipant may get a brainstorm and say, “What if we. . . ?” Then the conversation will revolve around thatunforeseen topic. Although it is impossible to anticipateall diversions in advance, you can think about whetheryou could remove or alter specific constraints.For example, if your prospect suddenly demands that you paya penalty for late delivery and you know that your printer caneasily make the specified date, you can regain momentum forthe deal when you reply, “Actually, I’ll pay you a higher penaltyfor late delivery, if you pay me a bonus for early delivery.”Similarly, if a buyer requests that you purchase a costly product-liabilitypolicy, and you are familiar with the terms ofyour current policy, you can describe them, letting the buyersee that they are adequate and making it unnecessary to purchaseadditional coverage.5. Determine your final BNO. Focus on your bottom-lineobjective and keep your best interests in mind. Themore you know beforehand about the people, the process,your costs, and your operations, the more able youwill be to discuss terms on the spot and achieve the bestnegotiated outcome. ■Brian Jud, the executive director of SPAN and the author of How to Make Real MoneySelling Books, offers commission-based sales of books to buyers in special markets. Formore information: P. O. Box 715, Avon, CT 06001-0715; 860/675-1344; fax 860/673-7650;brianjud@bookmarketing.com; premiumbookcompany.com.32 | IBPA Independent | February 2013

Step Backto Lead Forwardby Kevin CashmanWhen I signed books at BookExpoAmerica several years ago, I was one of32 authors who stepped out from behinda velvet curtain onto an elevated podiumevery half-hour or so. Attendees linedup in long rows and patiently waited toreceive their signed copies. While theprocess had a bit too much formality formy taste, it was still a big deal for me.Lining up behind the curtain with theother 31 authors, I had noticed that tomy right was George Stephanopoulos,chief political correspondent for ABCNews, formerly White House communicationsdirector and senior advisorfor policy and strategy during PresidentBill Clinton’s administration.Although he looked like a teenager, hewas unfazed by the event—cool, calm,and collected, a complete contrast tomy visible enthusiasm.When we took our spots, George’s linewas long. It went on forever, wrappingaround the corner beyond our sight. Myline of people numbered a paltry seven.At first, I cycled through reactive embarrassment,insecurity, and disbelief. Ithought, “Am I in the correct spot?”Then, I paused. Stepping back for amoment, I caught myself and reflected:“How do I best deal with this situation?”This short moment of reflection gaveme renewed clarity and purpose. “Thisisn’t about me. It’s about those sevenpeople, and I will graciously, generouslygive them my full attention.” Once Imade that shift, I had a great time.All too often, weallow ourselves tobe carried away byour busyness.By connecting deeply, I learned a littleabout each individual; then I signed eachbook. It became a wonderful experience.After a little while, I looked up. Asmall miracle had happened. I nowhad a long line of people awaiting mysignature. I glanced over at George.His line had emptied. Apparently hisbooks had not arrived, and he hadbeen dashing off his signature on photosof himself as substitutes withouttaking much time to talk with people.Evidently, word had gotten out: “Youwant a photo, or a personally signedbook from Cashman?”Even George noticed the shift and said,“You must have a great book.” I responded,“Sure is. You want a copy?” Feigningimportance, I signed one for him. Thetruth is I felt bad for him. I wouldn’thave been very happy if my books hadn’tshown up, and clearly his disappointingcircumstances helped turn the tide for meand created my surprising book wave.Reflecting on this example and thethousands of other intentional pausesI have had the privilege to witnessVisit the IBPA Website at www.ibpa-online.org | 33

■Pausewith clients over the years, it has become clear: Pause powersperformance.A Universal Principle: PauseHow often do we miss these small but significant moments?These key opportunities can unlock our hearts and minds,open us up, and connect us more deeply with others so thatwe can create something new and different.All too often, we allow ourselves to be carried away by ourbusyness. We are too hyperactive, too reactive to even noticethe hidden value-creating dynamics waiting just under thesurface within us and around us.Leaders we interviewed toldus, We need to pause to figureout what is important and whatis not.Tethered to our smartphones, we are too caught up and distractedto take the time necessary to sort through complexityor to locate submerged purpose. In our urgent rush to get“there,” we are going everywhere but being nowhere. Far toobusy managing with transactive speed, we rarely step back tolead with transformative significance.Pause is a universal principle inherent in living, creative systems.It is part of the order, value, and growth that arise fromslowing down and stepping back. In physics, it is the SecondLaw of Thermodynamics: As activity lessens, order increases.The Pause Principle is present in economies, physiologies,ecologies, communities, organizations, and nations. Weobserve pause on the macro and the micro levels as a principleof life and leadership, a natural part of the continuumthat catalyzes growth, innovation, and transformation.As with any valuable resource not yet recognized and thereforeneglected, we have to explore and discover its pragmaticuses to experience its value-creating impact. Additionally, weneed to learn to tap into pause, incorporating it in our livesand leadership, and leveraging it as a powerful resource, aninnovation in and of itself.The Pause Principle derives from several years of research,including interviews with more than 100 people, as well asfrom various forms of practice and from observing effects.It entails the conscious, intentional process of stepping back,within ourselves and outside of ourselves, to lead forwardwith greater authenticity, purpose, and contribution. Thismethodology allows more examination, higher-order logic,rational analysis, more profound questioning, deeper listening,higher-quality presence, broader perspective, greateropenness to diverse thinking and input, and ultimately moreimpactful, influential, and innovative action.Of the 100-plus leaders we interviewed, nearly every one toldus, There is so much coming at us at once, we need to pauseto figure out what is important and what is not. Pause Points,whether structured or spontaneous, can help us do that. Theyare tools to help us regain our balance, feel grounded andcentered. They can help us be accountable to our commitments,to our mission, and to people. Pause Points can helpus intentionally imbue generativity, innovation, and a senseof meaningful service in our cultures.The Pause PracticesFrom our interviews and our analyses of a multitude ofresearch and case studies, we have isolated Seven Pause Practicesthat support the meta-pause principle: Step back to leadforward. The practices are the pragmatic ways to breathe lifeinto each growth area: grow self, grow others, grow culturesof innovation.➤ Pause Practice 1: Be On-Purpose“Leaders remind people what is important,” in the wordsof Warren Bennis, the leadership studies pioneer. Meaninginspires us to go beyond what is, to contribute somethingextraordinary. Purpose is the intersection of competency andcontribution that aspires to achieve something bigger, somethingbeyond us. Purpose gives context, drive, and meaningto personal growth, talent growth, and growth of innovation.It may be the most important, most far-reaching, transformativepause of all.➤ Pause Practice 2: Question and ListenQuestions are the probing language of pause, forcing us to stepback, reframe, revision, and reconsider. Questions are the learninglinks that, over time, connect knowing to wisdom. Questionsare the spades of curiosity that allow us to dig deeperfoundations for personal, relational, and creative growth.Listening is the receptive language of pause. Listening withauthenticity opens up doorways to self-knowledge, understandingothers, and innovative possibilities; it introducesus to new ways of thinking, behaving, and seeing the world.34 | IBPA Independent | February 2013

Pause■Listening is the incubator for growing clarity out of complexity;it is the silent, pause-ful soul of transformative learning.If we hold on to the status quoand the tried-and-true,efficiency is our main sourceof value creation.➤ Pause Practice 3: Risk ExperimentationManagers minimize risk and experimentation to increasepredictability; leaders monitor risk and accelerate experimentationto foster breakthrough. Stepping back to attemptthe new and the different establishes the pathway to learningand discovery. If we hold on to the status quo and thetried-and-true, we are left with efficiency as our main sourceof value creation.However, when we experiment, we have a chance to fosterentirely new ways to create value. Experimentation requiresboldness and the courage to face failure and to leverage itspotent learning. It challenges how we see ourselves and ourworld; it is the very essence of discovery. Risking experimentationis pausing at the edgy, uncomfortable intersection ofcurrent reality and future reality; leaders create the futurethrough intelligent experimentation.✦ Pause Practice 4: Reflect and SynthesizeManagers analyze, judge, and decide to manage current realities;leaders reflect and synthesize to create new realities. Asleaders, we tend to overanalyze, underreflect, and undersynthesize.Addicted to speed and action, we become transactive decidersinstead of transformative synthesizers. Great leaders takethe time to incubate analysis to discover higher-order, morestrategic, forward-thinking solutions. Reflective synthesis isequally important for leaders to develop self-awareness, talentawareness, and innovation breakthroughs. Reflection andsynthesis hold the keys to unlock the doors of authenticity,transformation, and innovation.✦ Pause Practice 5: Consider Inside-Out andOutside-In DynamicsGood leaders look outside themselves for strategic solutions;great leaders look inside themselves and outside themselvesfor enduring transformation.TOTALPRINTINGSYSTEMSDigital Book ManufacturersPower - Speed - Flexibility - Economy1-800-465-5200 www.tps1.comShort-Run Book ManufacturersDigital – including High-Speed Inkjet and TonerBlack and White&FULL COLORe-Book/Flip BookOne Off FacilityQR CODESInnovationis our Specialty!MIDWESTLOCATIONCase BindingPerfect BindingCoil-WiredSaddle StichedPUR BindingBookstore/Distributionwww.tps1.comVisit the IBPA Website at www.ibpa-online.org | 35

■PausePause is a holistic, integrated process of considering dynamicforces within us and outside of us. The more we pause to considerboth endogenic and exogenic forces, the more potentialpersonal insight, talent insight, and strategic insight available.Pausing to more deeply consider internal and external informationcreates a greater likelihood of profound personal, strategic,interpersonal, and organization growth.Balancing our pause practices “to look inside” and “to lookoutside” is the pause-through needed for authentic, enduringbreakthrough.Reflection and synthesis holdthe keys to unlock the doors ofauthenticity, transformation,and innovation.✦ Pause Practice 6: Foster GenerativityA generative leader pauses to prepare the next generation moreoften than for personal success. Generativity is the energy andenthusiasm we get by helping people surpass us. It is the joyof giving, coaching, mentoring, and stretching people to gobeyond us. Generativity is the joy of parents seeing their childrenelevating themselves; it is the joy of leaders multiplyingtheir impact for future generations. Generative pause fosters arich atmosphere for human potential to flourish.✦ Pause Practice 7: Be AuthenticThere is no greater influential act than a leader authenticallybeing the change the leader wishes to see in an organization.Once leaders become what they want others to aspire to, theattractive force is irresistible, and people rush in to engageand to contribute.Pausing to be more authentic with ourselves, with our people,and with what we aspire to create is critical to enduring valuecreation. Authenticity gives substance, realness, and value toeverything it touches. Managers build dependability throughaccuracy; leaders build credibility through authenticity. ■Kevin Cashman, regarded as one of the world’s premier CEO coaches, was named one of theTop 10 Thought Leaders by Leadership Excellence magazine several times. For more than 30years, he has advised senior executives and senior teams in more than 60 countries. His sixleadership books include Leadership from the Inside Out, currently used in more than 100universities and leadership programs worldwide. This article is excerpted from his new book,The Pause Principle: Step Back to Lead Forward, from Berrett-Koehler Publishers. To learnmore: bkconnection.com.36 | IBPA Independent | February 2013

movinga PublishingBusiness Abroadby Anna FaktorovichI started an independent publishingcompany called Anaphora LiteraryPress back in 2009, at the same time asI began my Ph.D. studies, to practiceediting my own publication, the PennsylvaniaLiterary Journal, now availablein print, on EBSCO and ProQuest,and in its fourth volume.As the business grew, I began teachingcollege English full-time and expandingmy research agenda; now I have twobooks that will be published by McFarlandin 2013. This year, I was offereda contract with Shantou Universityin China as an associate professor. Ilearned that it was a high-tech, top-50Chinese university privately funded byone of the richest men in China.My move to China has meant that theheart of Anaphora also temporarilymoved there, with more than a dozeninterns each semester and a six-membereditorial board, as well as peerreviewers and more than 50 authors.We live in a world where a publisher canmove a business, start an internationalbranch, or work abroad for a while.What follows is a heads-up list for anyonecontemplating any of those actions.EmployeesOne of the top reasons you might bedreaming about going abroad to do businessis that there are countries where theminimum wage is a lot lower than in theUnited States, and, in theory, you mightbe able to hire skilled laborers for a fractionof the standard U.S. pay rate.In theory, you mightbe able to hire skilledlaborers for a fractionof the standard U.S.pay rate.In developing countries, some peoplereally do earn as little as $1 per day.Skilled laborers in Shantou make 18RMB ($3) an hour on average. However,they charge foreigners between25 and 100 RMB ($4–$17) per hourbecause they assume ignorance oflocal values.You should research the local newspapersand Web sites that post jobs, andschedule some interviews before yourtrip. In many countries, at a minimum,you will probably need to hire a driver,a cleaning worker, and a translator,and to have them in place as soon asyou arrive. Of course, you will have totrain each of these people.Tell the translator to translate everyword somebody wants to communicate,not 10 percent. Buy the cleaning productsyou want used, and give instructionsabout sanitary cleaning methods(e.g., “Don’t leave old toilet cleaningtools from other clients in my bathroom”).You’ll need a driver in countriesthat make you take a driving test ina foreign language for a license. Electricbicycles are good short-distance solutionsin China because they are currentlynot covered by licensing laws, butthey won’t take you safely downtownbecause of unregulated scooters andbicycles, and general disorderly driving.HealthApplying for a visa at least a monthin advance of a move avoids theVisit the IBPA Website at www.ibpa-online.org | 37

■Moving a Publishing Business Abroad$700 fee for a same-week turnaround. At least 10 days beforedeparture, you will need to get four to six immunizations($50 to $200 per shot) at your regional Travel Clinic to avoida major health crisis. Some immunizations come in pills thathave to be taken months in advance, and others are to betaken after arrival.Simultaneously, get a full physical with MRI and X-rays inthe United States to avoid a physical in a urine-flooded, filthyforeign clinic upon arrival.The local pharmacy isn’t likely to have the drugs that you areused to, so pack the maximum supply of your allergy nasalspray, food poisoning drugs, DayQuil, NyQuil, and whateverelse you take somewhat frequently. If you have insurancecoverage in the United States for prescriptions, get themfilled before you go, as the overseas insurance plans mightnot cover drugs or nonemergency medical visits (note: communism= fewer social services). Two pairs of eyeglasses costme $1,000 in China, much more than they would have costin the United States.For flights with a layover of eight hours or more, book a restingroom at the airport, since you won’t be able to leave it.As always on long flights, it’s good to walk around the planeperiodically so your ankles won’t swell. Decreasing waterintake and elevating your feet above your head can help easeswelling, which can last for a month or more.The local pharmacy isn’t likely tohave the drugs that you are usedto, so pack the maximum supply.The major health concern is food poisoning (Salmonella andthe like). The bloody diarrhea can last for a month, and inserious cases the illness can damage the stomach and otherorgans. So, don’t oblige your host, and never eat out in developingcountries if you want to keep your digestive systemsafe. If you must eat out, avoid buffets or restaurants thatallow a group of people to eat from communal center-tableplates with their hands or chopsticks. And drink only boiledwater. Especially watch out for ice, which is made from tapwater. Ibuprofen and antibacterials help.Can’t Afford a Book Publicist?YouDoPR.com is the first fully automated,do-it-yourself, online book marketing service.• Access to updated media lists• Automated press release distribution service• Sample press releases, helpful articles• Discounted prices from various publishing vendors• Social network community including automatedFacebook and Twitter postingsMembership starts at $49 per month!Contact us today: admin@YouDoPR.com38 | IBPA Independent | February 2013

Moving a Publishing Business Abroad■CensorshipA different country might have led to more fruitful internationalgrowth for my business, as censorship prevents all buta handful of private publishers from operating in China. Mostpublishers here are affiliated with the Chinese government.Censorship also impacts Internet access. Since I can’t accessmy own company’s WordPress Web site if I use a standardChinese Internet connection, I use BlackLogic, a VPN servicethat costs $100 a year, registers you anonymously, andshows your computer as being in a censorship-free country.This gives me access to WordPress, YouTube, MySpace, Facebook,Netflix, Skype, and so on. In countries where you willhave a weaker Internet connection, you might have troublefinding an unlimited Internet provider, or only find one withrates at around $500 a month for 100 GB.MoneyThe English-speaking skilled labor force is small; shippingcosts are high; there is no centralized publishing tracking system;and your new bank account might not have the transactiondescriptions you are used to in the United States. Transactionsmay read simply as debits and credits.There is a lot of credit and debit card theft in China andother developing countries. In fact, my U.S. PNC bank cardnumber was stolen and used several times with online storesbefore I closed that account and was left with only one U.S.debit card. To avoid theft-related losses, banks have a highlycomplex online shopping system. The Bank of China givesout an electronic password that changes every minute and aPIN that must be texted to your phone in Chinese every timeyou shop online.Avoid shopping online, in general. My expedited packagesarrived from TMall.com covered in a thick layer of dust twoweeks later at five different curbside dropoff points, and hadmajor defects, including loose screws in a bike and poweroutage-causingtechnology in an oven. Also, expect defectiveproducts from online and physical stores. A knife I bought atWalMart collapsed in half onto my finger and split my nail,nearly cutting my finger in half.ContractsContractual negotiations and disputes are likely to be complicatedby international moves. Contract Law of the People’s Republic ofChina was renewed and strengthened in 1999 and 2008 by thePeople’s Congress, and yet some institutions in China still feel thatcontractual agreements are fluid and can be changed.For example, I was offered and signed a contract to earn220,000 RMB per year, but my actual incoming salary turnedout to be 156,000 RMB. Upon appealing this matter, I wasoffered an official apology, but I have not yet won the promisedinitial salary. To fight this dispute with the STU administration,I have to use Google Translate. If this matter goesto court, and no court-appointed translators are available, I’llhave to use Google Translate even in my pro se legal appeals.Censorship impacts Internetaccess, including access to myown company’s Web site.Putting Things in PerspectiveAs I struggled through one of the varied illnesses that I havedeveloped in China (allergies, food poisoning, vision trouble,and colds), my translator asked, “If you have publishingbusiness, why you come to China?” I gave him a long lectureabout ambition, about the American tenure system, about theacademic publishing industry, and about the urge to eventuallymake enough money to be secure enough not to need totake extreme risks like going to China to get ahead. He staredblankly. I’m not sure if he understood much of what I wassaying. As an English professor, maybe I should have realizedthis, and given him a simpler answer. Sometimes, I do stuffjust to write interesting stories about it. ■Anna Faktorovich, the founder and director of the Anaphora Literary Press, teaches collegeEnglish and has won the MLA Bibliography and Brown University Research Fellowships. Twoof her books are forthcoming from McFarland: Rebellion Novel Genre and Formulaic WritingWithin Genres. To learn more: anaphoraliterary.com; pennsylvaniajournal@gmail.com.Experience: 35+ years as a publisher and attorney.Providing legal services to the publishing industry.Practice areas include all aspects of publishing including: contracts,copyright and trademark matters, licensing of rights and acquisitions.Sponsor of The Publishing Law Center® www.publaw.comLloyd L. Rich, P.C.1163 Vine Street, Denver, CO 80206Tel: (303) 388-5215 • E-Mail: rich@publishingattorney.comLloyd_Rich_Ad_3.5x2.5_CMYK.indd 11/19/12 1:04 PMVisit the IBPA Website at www.ibpa-online.org | 39

Metadata Mustsby Renée Register and Thad McIlroyToday’s independent publishers havetwo big reasons for getting metadataright and distributing it early in thepublishing cycle. For one thing, fulland accurate metadata is essential fore-commerce; without it, a book is muchless likely to be found, to create a buzz,and to sell. For another, good metadatahelps small and independent publisherscompete with larger publishers.Providing full metadata, including goodcategorization and book description,makes it more likely that independentbooks will be retrieved along withbooks from the biggest houses. Includingadditional evaluative metadata helpsreaders make the decision to choose abook from among the others available.Information that makes a book standout includes:• author biographies, interviews,and links to author or book Websites• advance reviews or blurbs• table of contents• excerptsBecause metadata is used in almostevery aspect of publishing, each publishershould create and maintain onecomprehensive database that containsall data needed for:• acquisition• rights• editorial• production• marketing• distribution• merchandising• search• discovery• selection• ordering• sales transactions• sales tracking• business intelligenceTake time to determine the data neededto meet these business needs. Explorecontent management systems andother tools that can help publisherswith capturing, storing, and maintainingdata. Make sure that any system youselect or build can export the data in aform that trading partners and resellerscan use. When Excel or other desktoptools are the only option, vendors canhelp transform existing data into ONIXdata so that it can be easily distributed.See below for a list that includes somecontent and data management vendors.The data that you amass and maintainmust work for all users—staff, saleschannels, trading partners, and readers.And it must cover three basic areas:content description, item description,and commerce needs.AcquisitionsEditorialProductionMarketingPublisher MetadataMetadata DistributionSellersReadersSales Transaction DataConsumer Behavior DataAnalytics & Business Development40 | IBPA Independent | February 2013

Metadata Musts■• age level for juvenile titles• descriptive summary• BISAC/BIC subjectsMetadata for product description. Metadata must alsocommunicate certain things about the nature of the particularproduct type, or version, of content. A book can have thesame title, author, edition, description, language, and subjectsin more than one format, but the fact that it’s in audio,digital, hardcover, or paperback matters to the reader, theseller, and the publisher.Accordingly, publishers must have specific product information(as well as specific content information) to effectivelytrack marketing campaigns and sales associated with particularformats. For example, if a book enjoys strong sales in printbut weak sales in the audio version, that has implicationsfor the publisher’s marketing strategy, analysis of consumerbehavior, and business intelligence regarding the effectivenessof various types of content in available formats.Product information is crucial for resellers as well. For example,wholesalers use information about weight, dimensions,and number of pieces to plan inventory space and anticipateshipping charges for physical items.Metadata for book content description. Good descriptionis at the heart of successful online selling for any product.Whether you’re selling shoes, refrigerators, or books, themetadata describing the product stands in for the physicalitem and must, at the very least, accurately express the natureand qualities of what is being sold.The elements below are the basic building blocks for describingthe content of a book. They refer to the work itself (thecontent of the book) and will apply to any version of thebook that has the same content. Some elements, such asthose pertaining to series and edition, are obviously essentialonly when applicable.• title (and subtitle if applicable)• author/contributor(s)• publisher (and imprint if applicable)• edition information (if applicable)• series (if applicable)• language of content• audienceVisit the IBPA Website at www.ibpa-online.org | 41

■Metadata MustsThe basic product description elements are:• product form (format/binding/packaging)• software/hardware requirements (if applicable)• extent (page count/file size)• weight and dimensions (if applicable)• number of pieces (if applicable)• DRM/usage constraints (if applicable)• digital imageMetadata for commerce. Of course consumers care aboutprice, but publishers and resellers need many additionalmetadata elements connected to buying and selling. Thoselisted below drive how, when, at what price, and, in the caseof territorial rights, even whether books are bought and sold.Although many of these elements aren’t visible to the consumer,they matter for business decisions behind the scenes.• ISBN (a unique identifier is important for all aspects ofselling)• price(s)• publication date• publisher’s proprietary discount• publisher status code• product availability code• territorial rights• strict-on-sale date• return code (if applicable)Outsourcing OptionsSmall and independent publishers often have managementsystems that rely on Excel, internal databases, and other toolsthat aren’t fully integrated and require lots of manual intervention.This can make it difficult to create the type of streamlinedand efficient metadata processes that ensure timely distributionof consistent quality metadata to sales outlets.Publishers that release only one or two titles a year, don’tmaintain a significant backlist, and work with only a few tradingpartners may do well enough by using the online metadataforms provided by Amazon, Barnes & Noble, and otheronline sellers on a title-by-title basis. But it’s still importantto understand the metadata elements these suppliers wantand to enter data fully, accurately, and in keeping with bestpractices for product description.Resellers request particular data elements because they contributeto better discovery and more sales—the desired resultfor the publisher as well as for them.To help small and midsize publishers handle the challenges offormatting and distributing metadata, several companies nowoffer a variety of products and services. Using one of these companiesto manage your metadata can be a good option, savingstaff time and ensuring consistent metadata distribution.This list of business, content, and metadata managementvendors is not comprehensive. Without endorsing any ofthem, we offer brief descriptions here.Avatar (avatar-software.com)AVATAR is a fully integrated, module-based business managementsystem, specifically designed to meet the evolving needsof publishers and distributors. It has been developed and issupported by Littlejohn, one of the United Kingdom’s top 30firms of chartered accountants, based in London. In additionto its core financial management ledgers, AVATAR modulesinclude Title Management, Rights and Royalties, and BusinessIntelligence. The AVATAR system is ONIX compliant.www.cassidycat.com |cip-info@cassidycat.com | 973-586-3200ph | 973-586-3201fax42 | IBPA Independent | February 2013

Book1Adfinal 12/20/12 3:07 PM Page 1The Law Offices OfJOnaThan KirschSpecializing in general legal servicesfor the publishing industry, including:• Copyright and trademark matters,• Rights and permissions,• Manuscript vetting,• Negotiation and drafting of contracts,• Sales and acquisitions, and• Other transactions.Wouldn’t it be great ifprinting your books wasas simple as pushing abutton?Law Offices of Jonathan Kirsch1880 Century Park East, Suite 515Los Angeles, California 90067Tel. (310) 785-1200 • Fax (310) 286-9573Email: jk@jonathankirsch.comAt Book1One you’lldiscover working witha book printer hasnever been easier.Contact us at:585.458.2101button@Book1One.comFEBRUARY 12-14, 2013NEW YORK, NYExplore the forces that are transforming publishingand discover solutions to the most critical issuesfacing our industry. TOC is fascinating, practical,fun, and thought-provoking—giving you a glimpseof publishing’s future as well as a grasp of thetools you need to successfully get there.New for 2013: Author (R)evolution DayInsight and inspiration for authors, agents, publicists, and allcontent creators taking a different path to publishing.Save 15% (Use code IBPA)Learn more at toccon.com©2012 O’Reilly Media, Inc. The O’Reilly logo is a registered trademark of O’Reilly Media, Inc. 1210xxVisit the IBPA Website at www.ibpa-online.org | 43

■Metadata MustsCyberwolf (cyberwolf.com)ACUMEN Book is an integrated business management systembuilt on a client-server architecture. It is suitable for siteswith up to 100 concurrent users. The Product Marketing componentallows information export in a customizable format fortransmission to trading partners and publisher Web sites.Firebrand Technologies (firebrandtech.com)Firebrand offers: title management solutions that facilitatetracking titles from preacquisition through postproduction;Eloquence metadata solutions that comprise ONIX implementationand metadata distribution services; e-commercesolutions that integrate predeveloped Website architecturewith Firebrand’s title management solutionsIBS BookMaster(ibs.net/products/ibs-media/bookmaster)BookMaster is a publishing-specific integrated enterprisemanagement business software solution for print and digitalpublishers and book distributors. It comprises core distribution,financial, and supply chain management (SCM) systemswith highly functional integration to Web-based financialtransaction and business management processes.Klopotek (klopotek.de)Klopotek’s Product Planning and Management (PPM)products include: Title Management and Product Marketing,facilitating ONIX creation and distribution to multiple tradingpartners; Editorial and Production, which provides tools for managementof title planning and production activities and workflows;Contracts, Rights, and Royalties, which provides tools forcontract, royalty, and rights managementNetRead (netread.com)NetRead’s Jacketcaster offers conversion to ONIX for Books,and metadata distribution services with file formatting pertrading partner specifications.ONIXEDIT (onixedit.com)ONIXEDIT title management software is based on theONIX standard. Functionality includes the ability to readand write ONIX, export and transmit ONIX, and validateand save files in specific formats.Publishing Technology (publishingtechnology.com)Publishing Technology’s Advance Product Manager isdesigned to manage product information, production processesand schedules, and digital assets. It allows import, export, anddistribution of data in various formats, including ONIX.More Help with MetadataDetailed information about metadata and how to manageit is available via ibpa-online.org. See especially “DesperatelySeeking Good Data,” Parts 1, 2, and 3; “The Link BetweenMetadata and Sales”; and “E-Book Metadata Best Practices.”Scott Moore Ltd. (scottmoore.co.uk)Scott Moore’s Book Manager incorporates a range of business functionsincluding electronic data exchange. Book Manager has a modulethat can import, export, and manage ONIX for Books data.Stison Publishing Solutions (stison.com)Stison’s Title Manager is a Web-based bibliographic data storage,management, and distribution system that is ONIX compliant. ItsProduction Manager is a production scheduling, reporting, andworkflow management system. Other Stison modules includeRoyalty Manager, Web Manager, and E-book Manager.Virtusales (virtusales.com)Virtusales’s Biblio3 is an integrated, modular publishingmanagement system. Functionality includes productionmanagement, rights and royalties management, and bibliographicand editorial data management. Data managementcomponents include centralized storage, XML output forcatalog creation, and ONIX Wizard and feed generator.Its BiblioDAM is a digital asset management system. Whenintegrated with Biblio3, metadata from Biblio3 automaticallyfeeds into the BiblioDAM system. BiblioLIVE is an onlineversion of Biblio tools that includes backups and disasterrecovery.Whether or not you decide to work with a vendor to manageyour metadata effectively, it’s vital to keep one thing firmlyin mind. Metadata about your books is only as good as theinformation you create, provide, and update as necessary. Nomatter how good a vendor may be, your business process andorganization determine whether metadata about your booksis as good as it has to be to help those books sell. ■Renée Register’s company (datacurate.com) focuses on supporting publishers in thedevelopment of 21st century data policies, practices, and systems designed to connectreaders to content. Thad McIlroy’s consultancy (the futureofpublishing.com) is devoted tohelping publishers at the intersection of production, markets, and technology.This article is derived from their new book The Metadata Handbook: A Book Publisher’s Guideto Creating and Distributing Metadata for Print and Ebooks. To learn more: reneeregister@datacurate.com; thad@thefutureofpublishing.com; themetadatahandbook.com.44 | IBPA Independent | February 2013

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