Publisher's Diary

A regular diary from Salmon Poetry's editor, Jessie Lendennie
13th March, 2000

Hello                                                                                          

It's now over a week later than I'd intented to start this diary and in that you have the first indication of what life is like at Salmon. Full of distractions and un-expected turns of event. My beloved 13 year old labrador/collie, Zookie, died of cancer last Thursday and her illness occupied much of my time and energy for the last 5 weeks.   Zookie has been a presence at Salmon book tours, receptions, and every manner of event, you'll see her photo throughout this website;  I'm numbed  by her loss.

Still, here I sit at the computer with the grey sky over our valley, and I have to get on with things.  We spent the  weekend working on the final  stages of our Spring book covers, and we have Linda McCarriston's book tour coming up. Before going into the nitty-gritty of it all, I'm going to say something about my reasons for taking on the extra work of this Diary.

My reasons for wanting to do this diary are varied, but stem from an obvious need to open a window for writers into the small press publishing world.  Salmon is as representative as any of this world, having been in it for 18 years  - from a writing workshop broadsheet and journal  to 20 books a year. 

Like any publisher I get hundreds of queries from people wanting to find out how to publish their work; specifically with Salmon, but also how to publish in general. The particular query 'how do I get published' recurs over and over again. 

HOW do we answer this question: Simplistically, as in "Write good work", or broadly with a list of outlets and a "Good Luck", or do we answer at all, thinking that a writer must do her own research??  Well perhaps we’d better look at what we’re actually being asked. There are doors to be opened on both sides of this question.

In my experience, writers don't always research their field as much as they could. The worse case of this is sending out the wrong type of material to a publisher. You may never hear back from the publisher, and then you're left with annoyance and rejection which thorough research would have spared you. 

Well, this diary is going to be part of your research!  A weekly look at how a small press operates. To me, example is the best sort of teacher. 

I'm going to start our 'dialogue' with a document which I send to all our new poets; it's a hands-on document which aims to put the writer in the picture of what Salmon needs from them and what they can expect from Salmon: 
 
 

In order that you be well informed, I wish to detail the basics of the poetry publishing process and let you know what you may and may not expect in dealing with Salmon. 

There are key areas: Preparation, Production, Promotion, Publication, Post-publication.
 

PREPARATION
Every publisher tries to work at least one year ahead, with books in preparation and being 'repped'(contact with the bookshops to obtain advance orders). However, since we don't know the level of our grant funding until well into the funding year, usually Feb.,we work as far ahead as this restriction allows; three to six months before publication. 

To proceed effectively I must have the following:

1. Your signed contract as soon as possible. The publication of the book is contingent on the contract being signed by both parties.

2. An up-to-date C.V. and copies of any publicity material you have; reviews, etc. A list of any contacts in the media (local or otherwise); bookshops you frequent; festivals or events you are, or have been, involved with; festivals in your area - in short, anything that will help sell your book. This includes useful contacts abroad, particularly in the U.S. and Britain. I would also like a list of craft shops in your area -  they  often stock poetry books. 

3. A 50 - 100 word 'description' of the book (ie. focus, themes, philosophy ...), and a 50 - 100 word biography (this bio. will be used on the back cover, as well as in promotion).

4. A completed manuscript for my perusal (preferably with an Apple Mac compatible disc), by the date agreed in your contract .
 

As soon as possible each year, a book schedule will be sent to bookshops; relevant media; and the foreign distributors. It is very important to have a definite title for your book at that time, and the book size should be agreed (for pricing). Approximately three months in advance of publication, a flyer and order form will be sent to bookshops, and other suitable outlets.  This will be followed at a suitable time later by a visit or telephone call to take orders for the book.  This flyer is in addition to the main books list (brochure) which will be regularly circulated. Flyers and promotional material will also be sent to the media.

Salmon's distribution in the U.S. is currently handled by Dufour Editions in Pennsylvania, and in Europe by Signature Distribution in Manchester, England. 
 

PRODUCTION
The first stage of book production, once the ms. is agreed, is for the author to  supply a final hard copy, and disk.  Having the copy on disk, which  has been carefully edited by the author,  cuts down greatly on time and typos. Once we receive the disk, Siobhan Hutson, the typesetter,  will  choose the type (font) size, style, etc. for the text and titles.  After this process, which takes approximately ten days (of course depending on the volume of other work and the length of the ms.), you will receive the proofs to check for errors. It will be possible to make small changes in the text at this stage, but not later. The proofs should be returned as soon as possible and not later than two weeks after you receive them. Since we cannot afford to hire proof-readers, you are required to proof your work carefully, and with another reader if possible. The corrections will be given to Siobhan who will amend the main (computer) copy. There will be another 'print-out' of the text and a further proof-read. If there have been a large number of errors, the author will be asked to check the copy again. The cover design takes place simultaneously with typesetting.  siobhan Hutson has sole charge of the cover design. As stated above, biographical details for the back cover must be submitted to Salmon with the accepted ms. The back cover 'Blurb' (book description) will be written in-house, and discussed with the author. I no longer solicit 'endorsements' from other poets or literary figures, but will include apt quotes from reviews. 

When the proof-reading has been done and corrections made, the final copy is sent to our printer, Techman, on disk and hard copy (the hard copy is used as a guide if necessary).  Techman are digital printers and can work quickly; turnaround time for the initial print run is approximately ten days. The cover is sent  directly to them by the designer. 

PROMOTION
Much of this has been covered above and boils down to looking at every possible avenue to promote your book. Review copies are sent to all the major Newspapers and magazines as well as RTE radio and TV.  Approximately 40 copies are sent out in Ireland and Britain and the U.S. distributors send out up to 25. Obviously you should send me your own list, which will probably overlap with Salmon's to some extent, but is worth preparing.  In the past RTE radio has been excellent in promoting Salmon books. They obviously need as much advance notice as possible.

I am investigating mail order (direct sales) possibilities. Any suggestions are welcome.

Bookshops are reluctant to promote poetry unless there is a relevant festival or event, or a favourite local poet. Book-signings are not common for poetry, but if there is a big enough local following, the bookshop may be persuaded that such an event is worthwhile. 
Because I will be working on selling and production, I will not be able to organise readings, beyond the initial promotional one(s).  Poetry Ireland assure me that they will try to accommodate poets who have new books in the PI reading schedule.  I will discuss this with each of you when necessary.
 

PUBLICATION & POST-PUBLICATION
When the book arrives from the printer, advance bookshop orders are filled, and new orders are sought. Review, copyright, and promotion copies are dispatched, as well as the poets' 10 free copies. 
Plans for a launch would have been discussed well in advance. It is important to bear in mind, that a launch should serve as promotion of the book, and expenses should not outweigh gains. Costs for an average book launch (100 -150 people), including wine, postage for invitations, the printing or preparation of invitations, is around £300.00.  This doesn't include hire of the venue, which is sometimes waived.  I will be discussing  alternatives to a launch with each poet.  We will look at sponsorship in each case, and at other, less costly, means of promotion. It's important to celebrate, but it's also important to stay in business.

There are several points I wish to clarify about sales. These have been sources of misunderstanding in the past:

1. Bookshops, normally, only re-order if a book sells within the first 3 months of publication, and they prefer a six week turnover. They may re-order later for a special event, or if the poet has some media attention, but they count on quick sales. The poet's local bookshop will usually keep copies in stock, as will bookshops 'partial' to the poet. I’ll repeat here that it is very important to let me know any bookshop contacts you have. Regular check is kept on book orders, but the publisher has no control over bookshop ordering policy.

2.   It often happens that a well-meaning person will inform a poet that her/his just-published book isn't in a particular shop, when, in fact, the book is there (sometimes, as happened recently, on prominent display!). I don't understand this phenomenon, but it usually distresses the poet, and takes up valuable time as the publisher checks out the situation. In almost every case I can recall, the book was in stock. What I would request of you is that, when relevant, please inform your friends, colleagues, acquaintances, relatives, etc. that if they don’t see your book in the shop, they should ask the shop assistant (preferably the poetry book buyer).  If a book isn't in stock - they will be doing a great service by ordering it.  This will also keep the title in the book buyer's mind.

3. All books are placed in shops on a 'sale or return' basis. Payment for books sold normally takes place after three months. With your royalty statement, you will receive a 'status' report on your book: obviously how many were sold, but, also, where it has been placed, whether it has been re-ordered, and how sales are looking generally.  Remember that since bookshops can return books, I must try to keep your royalties in line with actual sales, not placements. 
 

BREAKDOWN OF COSTS (In Irish Pounds. Currently the U.S. dollar is $1.23 to buy one Irish pound). For your information, I will give you a break-down of the costs of a typical poetry book: 80pgs. selling at £6.99   Initial print run 600 (of which 10 are author's copies, 40 review copies, 15 various promotional copies and 15 are copyright copies which must be lodged with certain libraries - therefore not available for sale, leaving 520  available for sale.

Per Book
 

Typesetting	£0.50
Design (incl. artwork or photography, colour separations)	£0.50
Printing	£1.00
Admin. (inc. promotion, travel, launches, telephone, postage, packing, invoicing, etc.)	£1.50
Author royalty	£0.84
Total	£4.34

 
 

Bookshop & author & other discounts average 55% of retail price	£3.85
Fees for overseas distribution @	£1.00
Total costs	£9.19
Loss per book	£2.20

I have probably underestimated the Administration costs, and some costs are hard to estimate, but  it's easy to see that  the Arts Council subsidy is essential, and that all  costs must be considered carefully.

An initial print-run of 600 is standard for us and the method we adopted this year with Techman is to run up to 1500 covers and reprint the text as needed after selling the initial run.  Reprints can be done overnight digitally. This is a great boon to us and has helped us get through the 1999 schedule. Techman’s quality is excellent.

Please note, also, that the maximum income from royalties on 520 copies at .84p per copy (12% of £6.99) is £436.80.  Although no royalties will be paid on books which the poet buys at discount, it is financially worthwhile for the poet to buy copies to sell at readings. Particularly since there are many times when their is no bookshop nearby to handle sales.

 In conclusion:

 1.Once the book is in the public domain it has a life of its own.  The publisher has no control over when a book will be reviewed, or if it will be reviewed at all. It is sometimes through the poet's own contacts that the 'best' reviews occur. 

 2.Unless Salmon uses a media monitor service I will not receive copies of articles or reviews. At the moment it isn’t possible to take on the extra expense of such a service, so I would appreciate copies of reviews, etc. that you see - in case I haven’t seen them.

 3. I must be kept informed of any promotion/sales opportunities, such as readings, etc. It is important that you continue to send individual poems out for publication in magazines, and other such outlets here and abroad.
 

MAJOR POETRY BOOK AWARDS, AND COMPETITIONS 
Books for The Irish Times Literature Award are nominated by a special committee. It is not possible to enter a book unless it has been nominated. The publisher is informed by the Irish Times of the nomination(s), and she must obtain the consent of the poet(s). 

Books for The Forward Prize are submitted annually by the publisher. This award  is £10,000.00 to the author of the best collection and £5000.00 for the best first collection published in Britain or the Republic in a given year.  The dates for submission include books which are still in ms. form, but, of course, this would have to be the final agreed ms. 

The Poetry Book Society in London selects quarterly 'Recommendations' and the 'Poetry Book Society Choice'.  These books must be in ms. form and must be submitted six months in advance, by the publisher. Up to 2000 copies of the selected books are purchased by The Poetry Book Society for their network of members. There is no specific award to the author. There are numerous other competitions around the country.  Poetry Ireland, and/or The Writers' Centre will give you details. 

Please let me know if any of the above needs further clarification. I have covered a lot of material, and there may be other points which were overlooked. Please sign and return both copies of your contract  for my signature, as soon as possible.
 

Jessie Lendennie
Managing Editor
Salmon Poetry

Daughter and Other Poems by JESSIE LENDENNIE The long- awaited re-release of Jessie Lendennie's prose poem "Daughter", first published over a decade ago, accompanied in this volume by a selection of Lendennie's previously uncollected poems.   MORE INFO>>>>