It's acting as a filter for
trade publishers looking for «sure things» to add to their bottom line and keep their doors open.
Not exact matches
The Association of American
Publishers released its US book sales figures for February 2011 and it
looks like 2011 will be the year the
trade book business has to finally... Read more >
A standard deep discount clause
looks something like this: «On copies of the Work sold by the
Publisher at a discount of greater than 55 % from the publisher's retail price through channels outside of ordinary retail trade channels, the author will be paid a royalty of 15 % of the Publisher's net proceed
Publisher at a discount of greater than 55 % from the
publisher's retail price through channels outside of ordinary retail trade channels, the author will be paid a royalty of 15 % of the Publisher's net proceed
publisher's retail price through channels outside of ordinary retail
trade channels, the author will be paid a royalty of 15 % of the
Publisher's net proceed
Publisher's net proceeds.»
Despite perceptions,
trade publishers are still
looking for quality manuscripts to publish; their livelihoods depend on it.
With a little research, self -
publishers are able to learn the tricks of the
trade, and to varying degrees, make the desired end product
look good for readers.
A brief summary of standard
trade publisher contract terms follows, but it's by no means all - inclusive: I advise everyone who is
looking at a contract signing to consult a lawyer.
The Association of American
Publishers released its US book sales figures for February 2011 and it
looks like 2011 will be the year the
trade book business has to finally confront serious declines in its core print business.
And yet, not quite one year to the day it was announced, Godin is shutting The Domino Project down, offering the awkward explanation that «it was a project, not a lifelong commitment to being a
publisher of books,» instead of, perhaps, admitting that publishing is harder than it
looks if you want to swim at the deep end of the
trade pool in the middle of a dramatic transition, as he obliquely acknowledges in many of his noteworthy takeaways, especially this one:
We'll also learn how educational
publishers and technology developers are opening up new markets for
trade publishers, and we'll get an inside
look at the latest in digital marketing innovation.
Ralph Möllers, the founder of a children's
publisher based in German decided to develop his own book widget, Book2
Look, that would enable book buyers, both
trade and consumer, to
look inside the book before they purchase.
Your eBook will
look and read like a quality
trade -
publisher eBook (even better), helping you standout out from the crowd.
Author One Stop will represent authors who are
looking for literary agents,
publishers, and / or media, librarians and bookstore owners at the largest
trade show for the entire publishing industry in this country.
If we
look specifically at this
trade market, it's quite likely that e-books already account for more than 50 % of current sales (some
publishers have intimated as much [link]-RRB-.
What may be something that other
trade publishers and indies want to
look at is Holtzbrinck's double play in the indie market.
Here's a chance to get new ideas for marketing your book, regardless if you're a new author considering self - publishing or an experienced author
looking to take up the slack in your
trade publisher's marketing and promotion efforts.
Right now, I think if you
look at the major
publishers who are involved in the publication of what the industry refers to as
trade book, bestselling fiction and non-fiction works, they have very different positions with respect to e-book borrowing from libraries.
While it's not clear how many
publishers have received similar demands, Amy Rhodes, a partner at New York
trade - publishing consultancy Market Partners International, said, «We have to assume they're
looking for deeper discounts from everybody.»
We keep abreast of technology, try to
look at and evaluate all of the new e-book readers, communicate frequently with
publishers, and attend
trade shows.
Their support and valued input made
Publishers Launch a success in its inaugural year, and we
look forward to another year of providing critical and practical advice and education for the
trade book publishing business.
You know you're a
trade - show regular when the major
publishers» pavilions
look familiar to you.
Furthermore, when you
look at the pricing models that
trade ebooks have engendered in the market, you see that
publishers have allowed pricing to be controlled by forces that are
looking to control over an emerging market rather than those who need to fund the content creation.
The
trade publishers don't have to worry about taking a huge gamble when
looking to the marketplace for books that are tried and proven to find an audience.
For our purposes today we are going to
look at the models that
trade publishers use --- how libraries interact with them, as well as offers some of the viewpoints from company representatives and individuals working in the digital publishing world.
For a
look back at the history of Apple negotiating with book
publishers and a little more on how the agency model came about, I recommend this WSJ article from 2010 and Michael Cader at Publishers Marketplace's look at how the introduction of the iPad gave publishers «the opportunity to change the basic selling terms of ebooks with at least one major trading partner in a way that lets [them] take back control of pricing and reassert their vision of the value of an electronic version of a bo
publishers and a little more on how the agency model came about, I recommend this WSJ article from 2010 and Michael Cader at
Publishers Marketplace's look at how the introduction of the iPad gave publishers «the opportunity to change the basic selling terms of ebooks with at least one major trading partner in a way that lets [them] take back control of pricing and reassert their vision of the value of an electronic version of a bo
Publishers Marketplace's
look at how the introduction of the iPad gave
publishers «the opportunity to change the basic selling terms of ebooks with at least one major trading partner in a way that lets [them] take back control of pricing and reassert their vision of the value of an electronic version of a bo
publishers «the opportunity to change the basic selling terms of ebooks with at least one major
trading partner in a way that lets [them] take back control of pricing and reassert their vision of the value of an electronic version of a book.»
However, what
looks like a pretty healthy split is based on the net proceeds the
publisher would receive for the book, selling it at the
trade discount or a little higher.
Let's say you want to write a book about how to be an American and you're
looking to find a
trade publisher willing to pay you an advance.
At first
look, it makes little sense for a product that costs more to produce, and yields less returns in the form of
trade - ins and renting for the
publisher, to be priced down when compared to its ephemeral online counterpart.