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Anaphora Literary Press

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Old Hack

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It would be unethical for me to keep the book-purchasing requirement or the discount that goes with it out of my first communication with the author. I don't see a problem with honestly sharing this information. As I explain in detail in the longer response I posted today, I do everything I can to sell books through various channels and with all sorts of marketing efforts. The market is tough today with the top 4 publishers eating up most book sales. Kickstarter and other platforms where authors or contributors push their projects out there are successful today more so than other independent efforts. The titles I publish do sell copies through distributors, so I'm selling to them and to authors. There is no difference between having authors profit from reselling their book, and publishers also making a profit from this exchange (unless you are on some kind of a quest to bankrupt all small publishers). Making a profit is the only way for a publisher to stay in business. If there are clients who want to buy their own books for resale, then it's ethical to meet this demand at a low cost and with a great deal of other added values.

It's not unethical for you to tell people that you expect the writers you publish to buy their own books: but that requirement does make you a vanity publisher, rather than a reputable trade publisher, because you're making money out of the writers you publish rather than out of selling to new readers.

Kirkus is only one of the reviews I posted. How do you know which of their reviews is paid for unless you've used this venue yourself.

Kirkus publishes two distinct categories of reviews. One category is paid for, and is ignored by most people in the book trade; the other category is not paid for, and is used by book shops as a purchasing guide. The paid-for reviews don't have the same clout at all.

Most reviews posted in major publications are paid for - sometimes directly, and at other times via ad purchases.

No, they're really not.
 

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Kirkus is only one of the reviews I posted. How do you know which of their reviews is paid for unless you've used this venue yourself. Most reviews posted in major publications are paid for - sometimes directly, and at other times via ad purchases. Yes, I design nearly all of the covers for the books I publish. I've had some positive feedback on that one. It had a positive review (unpaid) on Publishers Weekly and won the Best Book in the Category of Literary Fiction: 2018 Pinnacle Book Achievement Award. Here is a photo from an event one of the writers I've published told me about today: February 27, 2018: West Virginia House of Delegates: 1900 Kanawha Blvd., East Charleston WV 25305: Duff’s novel, “A Dying Breed” was recognized by Delegate Kayla Kessinger, and placed into the West Virginia State Archives: http://www.wvlegislature.gov/house/lawmaker.cfm?member=Delegate Kessinger.

Pinnacle Book Achievement Award? Isn't that the contest where you pay $90 to enter ($50 for each additional entry!), there's something like 50 categories (and you can suggest your own category, too!), less than a month for the judging process, and if you win your prize is stickers to put on your book?

Yeah - only people benefiting from that "contest" are the good folks at bookprofitingmarkets.com, who run the contest and pocket those hefty fees. It's not a legitimate award and recognizes no real achievement other than an author willing to part with $90 for puffery.
 
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As I explain in the book of mine that you still haven't read, the Big Four publishers dominating the publishing business today all started by taking money from authors (subsidies) in exchange for publication (or itemized services/ books). My goal is also to move towards becoming a Big trade publisher, and that's why funding infusions from authors help. I don't want to ask investors to risk their money by putting it into the volatile publishing market. Authors investing into their own books benefit themselves and can sell them at a profit. I am definitely a "hybrid" publisher, and not a pure vanity publisher - my goal is to keep my prices low enough for writers to profit from re-sales, and offer an array of services vanity publishers don't provide or only provide for $10K+. There is nothing particularly reputable about taking money from stock holders vs. authors. Nor is there anything reputable in being born rich and inheriting a publishing company. Categorizing a publisher struggling to stay profitable with help from authors as unreputable shows a lack of sympathy for hard-working new publishers without start-up funds. In the last couple of decades most of the top publishers have gone bankrupt or merged with rivals. Academic publishers have been collapsing. Other than non-profit publishers, are there really any successful small presses around today offering serious advances? Sure Kirkus has a paid-for branch, and the one review I posted from them was paid for, but not the several Publishers Weekly reviews I posted. So, I've still proved the point that Anaphora has successfully done everything possible to push the books and the authors out into the marketplace. Are people buying the books? Well, just think about the case of Rowling's mystery that she released back in 2013 or so - she released it under a different name with one of the Big Four publishers (and it got top marketing) and according to some estimates it sold 500 copies before Rowling's name was revealed and suddenly it went on to sell over a million. Why? It hardly improved by the revelation. So, the mystery as to how Big Names and Big Publishers can sell books and thus have the money to offer advances and small publishers have to find other ways to stay profitable is one that I really hope we'll solve in this discussion.
 

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Sure, that award isn't great, but somebody recognized the book and its cover for being pretty good - so I think it's good enough. Most awards require $50-200+ in fees + 6 or more copies of the book. So I think most modern awards aren't much to advertise, but people judge books by the awards they get. Some of Anaphora's other titles have done well in more reputable awards. Jere Krakoff’s novel, Something is Rotten in Fettig, was a finalist in the 2016 Foreword Indies: Humor (Adult Fiction) competition. John Paul Jaramillo’s collection of short stories, The House of Order, received an honorable mention in Latino Literacy Now’s Mariposa Best First Fiction Book Award. “Van Laerhoven writes about the cold and the cruel aspects of human nature with unflinching truth.” Hubert O’ Hearn in The 2015 Books of the Year: San Diego Book Review.
 

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As I explain in the book of mine that you still haven't read, the Big Four publishers dominating the publishing business today all started by taking money from authors (subsidies) in exchange for publication (or itemized services/ books). My goal is also to move towards becoming a Big trade publisher, and that's why funding infusions from authors help. I don't want to ask investors to risk their money by putting it into the volatile publishing market. Authors investing into their own books benefit themselves and can sell them at a profit. I am definitely a "hybrid" publisher, and not a pure vanity publisher - my goal is to keep my prices low enough for writers to profit from re-sales, and offer an array of services vanity publishers don't provide or only provide for $10K+. There is nothing particularly reputable about taking money from stock holders vs. authors. Nor is there anything reputable in being born rich and inheriting a publishing company. Categorizing a publisher struggling to stay profitable with help from authors as unreputable shows a lack of sympathy for hard-working new publishers without start-up funds.

Why should authors -- who have already invested huge amounts of effort in producing a book -- then subsidise an ill-conceived, underfunded publisher? Why?


In the last couple of decades most of the top publishers have gone bankrupt or merged with rivals. Academic publishers have been collapsing. Other than non-profit publishers, are there really any successful small presses around today offering serious advances?

Shit, yeah. Let me list a few just in Australia: Black Inc, Allen & Unwin, Scribe, Text, UQP, MUP...

Sure Kirkus has a paid-for branch, and the one review I posted from them was paid for, but not the several Publishers Weekly reviews I posted. So, I've still proved the point that Anaphora has successfully done everything possible to push the books and the authors out into the marketplace. Are people buying the books? Well, just think about the case of Rowling's mystery that she released back in 2013 or so - she released it under a different name with one of the Big Four publishers (and it got top marketing) and according to some estimates it sold 500 copies before Rowling's name was revealed and suddenly it went on to sell over a million. Why? It hardly improved by the revelation. So, the mystery as to how Big Names and Big Publishers can sell books and thus have the money to offer advances and small publishers have to find other ways to stay profitable is one that I really hope we'll solve in this discussion.

I'm guessing they do it by not being underfunded on start up and by running the whole thing as a business.
 

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Never mind the ethics, how well are your books selling?

Because that's really all that matters, in the end. Vanity publishers don't sell books. They sell services. Authors write books to be read. A publisher gets the book to readers.

It is that simple.

A glance at five of your titles published in the last year shows only two Amazon ranks better than 1 million and none better than 500,000. Particularly for the couple of books that launched recently, that rank indicates very few sales at all.

This isn't surprising given all five are sub-200 pages and priced at $20.00, which is outrageous. That's e-book length. Why would any reader buy those books when an e-book, likely longer, can be bought for anywhere between $0.99 and $9.99? (Those authors then sell more, and thus get more income, and develop a wider readership.)

Can you offer any evidence at all that authors are not your primary bookselling market?
 

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Historically, authors like Scott and Dickens (the best of them) have started their own publishing companies to publish themselves, investing their own money into the art. I've done the same, investing money from my teaching salaries into Anaphora. Sure, other authors help by funding Anaphora, but this is my full-time job - I'm investing my time every week to produce great books and to do my best to see them sell. I definitely wouldn't say that authors "should" invest money into their books. But the most radical and the most literary books have historically failed to find mainstream publishers because rebellions against the status quo cannot be measured by standard marketing formulas. So there are a lot of writers on these edges that need a home, and many of them see this investment (rightly so) as a donation to the arts to support their own art, my own, and society's appreciation of the result. I've never heard of any of the publishers you name and since I've read several thousand books over my career/ studies, and I research publishers - this means that those publishers haven't actually broken through the boundaries that keep small publishers from being recognized internationally. I can name many publishers I wish were truly successful, but they just aren't. I'd like to see the books of any independent publisher that made it without ever accepting and subsidized books - I'm saying this as a challenge - I really want to see these books to understand what they did, where the money came from, or how they managed to advertise books without it. I'd have around a hundred questions for such a publisher - so if anybody out there wants to participate in the survey and review, please email your historic books to me at [email protected] - or post them here (or a summary of them), so we can all learn how to achieve this kind of outstanding profits for all.
 

mccardey

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Historically, authors like Scott and Dickens (the best of them) have started their own publishing companies to publish themselves, investing their own money into the art.
Times have changed. Technologies have changed. Writers invest in themselves by writing their books.
 

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As I explained, it's an extremely crammed book market out there. There are millions of books in print. Readers buy primarily formulaic mysteries and romances. Publishers that focus on one of these and on keeping the price as low as possible (via mass market editions and not trade paperbacks) achieve sufficient profits to afford advances. I've published a couple of these types of books (fantasies) with a tiny start-up publisher that offered an advance. But my mission with Anaphora has never been selling to the mass market or finding formulaically minded authors. I've always wanted to help bring into light books that cannot find a home in these traditional venues. I email each new release as a review copy to 11,000 reviewers, academics, librarians and other influential people. This results in a good deal of librarians and others purchasing printed copies. You can find stats on all of my books somewhere out there - as they're all publically distributed etc. The here you found might not have sold well or you might have grabbed five titles I published back when I started in 2009, and by now even great sales would reflect as a lower rank due to the years since the publication. Once again, I'm not looking for authors who are looking to create a bestseller. The competition for bestsellers is a game for millionaires and gambling addicts. Instead, I help writers find readers by doing like the 100 free ebooks giveaways through LibraryThing. All of the titles given away get a good deal of reviews. I price all of the books the same way - books under 120 pages are $15, 120-270 or so $20, and then $25 up until a certain point. If an author requests a lower cover price, I work with them - but this decreases the profit per book sold. I split profits with authors 50/50 - so if I'm losing profits by lowering the price, so are the authors. The profit margin this sets is a lot higher than a giant publisher offering 5% or less - if their sales stats are 10X higher, their authors get the same amount of royalties as my authors... Readers that only buy books because of their price... aren't Anaphora's intended audience. My own scholarly books with McFarland were set at $45, and one of them sold over 500 copies. $20 is very reasonable. The Kindles and EBSCO/ ProQuest ebooks I create are set at $2.99 - these sell well in international markets where book prices are much lower (China, Cambodia, etc.) I've seen very high royalties from sales via different distribution channels every month for the last few years. The profits are probably evenly split between money coming in from new authors and royalties from the 240 titles Anaphora has in print. It would not be appropriate for me to share sales data for any of my authors in a public forum as they would object to it being private. Even if I relied more heavily on authors this would not be an ethical, a moral, a fiscal, or a logical problem. You can see on the Anaphora website the effort I've put into sending books for review, helping authors by creating press releases for them, and all sorts of other efforts. My job is doing all I can to help books sell. If the market is such that I have to rely on authors in addition to these efforts - it's the economy that's stupid.
 

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Absolutely, writers can publish themselves and write their own books today (as they could centuries ago - it's arguable when it was more difficult). Some writers have always seen a profit from selling their writing services, while others have paid to have their work published. The best writers just happen to have fallen into the latter category.
 

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Some writers have always seen a profit from selling their writing services, while others have paid to have their work published. The best writers just happen to have fallen into the latter category.
Wait - what?
 

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Faktorovich, I've skimmed through your more recent posts and you've made a lot of claims which are untrue. For example:

the Big Four publishers dominating the publishing business today all started by taking money from authors (subsidies) in exchange for publication (or itemized services/ books).
In the last couple of decades most of the top publishers have gone bankrupt or merged with rivals.
Sure Kirkus has a paid-for branch, and the one review I posted from them was paid for, but not the several Publishers Weekly reviews I posted. So, I've still proved the point that Anaphora has successfully done everything possible to push the books and the authors out into the marketplace.
Are people buying the books? Well, just think about the case of Rowling's mystery that she released back in 2013 or so - she released it under a different name with one of the Big Four publishers (and it got top marketing) and according to some estimates it sold 500 copies before Rowling's name was revealed and suddenly it went on to sell over a million. Why? It hardly improved by the revelation. So, the mystery as to how Big Names and Big Publishers can sell books and thus have the money to offer advances and small publishers have to find other ways to stay profitable is one that I really hope we'll solve in this discussion.
Historically, authors like Scott and Dickens (the best of them) have started their own publishing companies to publish themselves, investing their own money into the art.
Readers buy primarily formulaic mysteries and romances.
Some writers have always seen a profit from selling their writing services, while others have paid to have their work published. The best writers just happen to have fallen into the latter category.

Saying these things not only weakens your position here, it makes it clear that you don't understand how publishing works, and you're working with a very flawed business model as a result.

This can only bode ill for you and the writers you publish further down the line.

Moving on, if you want to see how publishers make books into best sellers, take a look at Joanna Cannon. She debuted with The Trouble With Goats and Sheep, and has now had her second novel published: Three Things About Elsie. Her UK publisher has promoted and marketed her books with great care and skill, and she's now on the best seller lists, has been longlisted for a major prize, and is doing brilliantly.
 
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I am definitely a "hybrid" publisher, and not a pure vanity publisher - my goal is to keep my prices low enough for writers to profit from re-sales, and offer an array of services vanity publishers don't provide or only provide for $10K+.

Do you meet the criteria for a hybrid publisher? http://www.ibpa-online.org/page/hybridpublisher

* Define a mission and vision for its publishing program.
* Vet submissions.
* Publish under its own imprint(s) and ISBNs.
* Publish to industry standards
* Ensure editorial, design, and production quality.
* Pursue and manage a range of publishing rights.
* Provide distribution services.
* Demonstrate respectable sales.
* Pay authors a higher-than-standard royalty.
 

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As I explained, it's an extremely crammed book market out there. There are millions of books in print. Readers buy primarily formulaic mysteries and romances. Publishers that focus on one of these and on keeping the price as low as possible (via mass market editions and not trade paperbacks) achieve sufficient profits to afford advances. I've published a couple of these types of books (fantasies) with a tiny start-up publisher that offered an advance. But my mission with Anaphora has never been selling to the mass market or finding formulaically minded authors.

It can be very hard to parse these walls-o'-text, so let me highlight that bit there for everyone.

This publisher is not interested in selling books. In fact, this publisher thinks if you do sell books, than you must be writing something "formulaic".

So if you're an author out there considering Anaphora Literary Press, do so on the understanding that the owner of the press has no interest in selling your book to readers.

That should be all you need to know.
 

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And just to properly dispel the myth that readers only buy mysteries and romances, here are five works of literary fiction and poetry from established small presses selling better than Anaphora's books.

None are romance. None are mystery.

War of the Foxes by Richard Siken, from Copper Canyon Press (poetry, still selling better than Anaphora's new releases)

Seeing People Off by Jana Beňová, from Two Dollar Radio

The Rib From Which I Remake The World by Ed Kurtz, from ChiZine Publications

Swimming Lessons by Claire Fuller, from Tin House Books (this paperback is doing very nicely)

They Can't Kill Us Until They Kill Us by Hanif Adurraqib, from Two Dollar Radio (this one's non-fiction, and I'd never heard of it but now want to read it, because it looks amazing--fortunately, it's in stock at my local Chapters, because the press, despite being in Ohio, has major distribution, including to small-town Canada--that way even if I don't know it exists, I can see it on there on the shelf when I'm browsing)

All of these presses (with the exception of ChiZine) were mentioned by Round Two earlier in the thread, in the discussion of presses that get reviews for their books. (Copper Canyon is a non-profit, which means it's got the same mission to bring otherwise overlooked books to light.)

Note that each of these books, including those recently launched, has extensive review blurbs on Amazon from major outlets.

Note that all of these are priced reasonably, and available in multiple formats.

Note that the covers fit the style and tone of the book and genre, and that the cover designer isn't credited on Amazon right up next to the author.
 
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Quoting a dozen of the things I've said and then saying that they all show my ignorance is nonsensical. To win an argument, you have to make an argument. You have to point out how each of them is untrue or the like. They're the exact truths from my real-life experiences. Saying that a single writer was able to succeed with a UK publisher doesn't help to make your point. Was this UK publisher a subsidiary of one of the Big Four publishers? Did their marketing effort include extremely expensive TV/ newspaper etc. ads? How much money did they spend on promotion? Was this amount more than the cost of my tiny house - and are you suggesting that rather than investing in numerous exhibits etc. I should spend a couple of years' profits on an ad campaign for a single book I think might sell? This is how most small publishers end up bankrupt - by investing in a gamble. So, you have to offer an example that you can defend with the details that Anaphora and other small publishers can follow.
 

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Yes, I definitely meet all of those. I purchased 1000 ISBNs last time for Anaphora and still have more than half of these. I got an email today from one of the reviewers on LibraryThing that just completed a review of a recent art book I released: [FONT=Calibri,sans-serif]https://www.librarything.com/work/21057326/summary/153720898[/FONT]. It seems that folks on LibraryThing (mostly librarians, agents etc.) like the design/ production value of the books. I submit all titles to the Library of Congress for LCCNs. I distribute with Ingram, EBSCO, ProQuest. I pay authors 50% royalties - the standard is closer to 5% among the Big Four. I mean, here's a YouTube book trailer I made for Leifert, the author from the review above: https://youtu.be/WHobUNvQFkI. What other small publisher offers free YouTube trailers to authors? Most giant publishers don't offer book trailers to anybody but their front list titles.
 

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I stand by what I said - I hate formulaic fiction and I wrote a book to explain this dislike, "The Formulas of Popular Fiction" (McFarland). You can read the details of my argument against it there. I have explained in detail how I do my best to help every one of the authors I publish sell their books (even if they write formulaic fiction hoping to reach an audience hungry for trashy novels). I don't discriminate against such works if they come my way. I just didn't start Anaphora with the hope of making any bestsellers. Authors who are only interested in profit are not a good fit for my personal beliefs about great literature and the craft of complex and innovative writing. But I'm happy to help them become profitable if that's their goal - because they're paying me for my services: my ideology doesn't enter into play when a contract is in question.
 

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In my other replies today, I explained how the books I publish do have reviews on Amazon, LibraryThing etc. I have queried distributors, but learned that they want 55% or so on top of the fees the printer/ wholesaler takes out. Working with a distributor in addition to Ingram would cut my own and the authors' profits from $6+ per book sold to just pennies. This would make the sales a distributor might achieve a matter of vanity rather than a profitable venture either for a writer or for Anaphora. If there was a distributor out there that didn't charge to store books and didn't waste hundreds of copies that didn't sell, I'd consider using them. But the ideology of why distributors are needed and the reality of how little they actually do differ greatly. I serve as the distributor for the authors - processing orders from libraries, bookstores and other buyers - I do this in exchange for my 50% of the profits. There's no room for another distributor that's gonna take 55% for storing and shipping books that sell because of my own and the author's marketing efforts. So, don't just name titles that sold in theory. Open the books, and explain exactly how a book reached a large buying audience. If we know this, all small publishers can mimic this success - and you'll be achieving something positive from this discussion.
 

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You keep referring to "the Big Four" when it's very established that there are "the Big Five." If you're not even getting that right, how are we to take you seriously on your understanding of how the actual publishing world works? It's not even one of the major things to point out, but it does show how little knowledge of the publishing industry is on display here.
 

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Yes, I definitely meet all of those. I purchased 1000 ISBNs last time for Anaphora and still have more than half of these. I got an email today from one of the reviewers on LibraryThing that just completed a review of a recent art book I released: https://www.librarything.com/work/21057326/summary/153720898. It seems that folks on LibraryThing (mostly librarians, agents etc.) like the design/ production value of the books. I submit all titles to the Library of Congress for LCCNs. I distribute with Ingram, EBSCO, ProQuest. I pay authors 50% royalties - the standard is closer to 5% among the Big Four. I mean, here's a YouTube book trailer I made for Leifert, the author from the review above: https://youtu.be/WHobUNvQFkI. What other small publisher offers free YouTube trailers to authors? Most giant publishers don't offer book trailers to anybody but their front list titles.

In reference to the bolded items:

Librarything members are not mostly librarians and agents. They are mostly ordinary readers and book bloggers. It's like Goodreads.

Royalties from the Big Five (not Four) depend on the book format. Royalties for hardcovers generally start at 10% (with escalation clauses that might go up to 15% or more). Trade paperback would be closer to 8%, MMP around 6%. Print royalties are also based on the cover price, not net.

Your phrasing about book trailers seems to imply that front list means best-seller. Not true. Front list titles refer to forthcoming or newly released books.

These might all seem like minor mistakes, but they (and your shaky command of English) add up to give the impression you aren't as knowledgeable as you claim.
 

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(At least) two of the original Big Five merged - so how are you figuring there are Five vs. Four or Six? I mean is there a cut off point for a publisher's size that makes them the Big ones? Who called them 5 - why didn't they expand the bigness rating to 10 of the biggest companies? All these questions will hopefully be answered one day.
 

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LibraryThing in its very name markets itself as primarily made for librarians. Most of the people who review the titles I give away on this platform are librarians, agents and the like. Maybe agents/ librarians just really like my titles on this platform, but not yours, so that's why you see fewer of them. Your hardcover 15% royalty rate is fictional - show me a royalty statement with that rate, and I'll use it in potential future negotiations with these publishers that will offer me 5% or less for the same hardcovers. Perhaps men automatically get higher royalties than women, or maybe you have some other special privilege. How do you know your stats reflect the industry - you have to give your source to be believable. The scholarly books I've published had an 8% royalty, so I'm assuming pop fiction with a mainstream publisher has to pay less than this amount per book. You are right I was too easy on the giant publishers - they definitely do not make book trailers for all of their front list titles - but only for a fraction of them. As you can see I'm right on all counts - and you have a lot of errors to correct.
 

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:popcorn:

Seriously. Your version of the truth doesn't make it more correct than anybody else's. The people who've responded have worked in various capacities in the publishing business, from authors to editors to publishers to agents, and have been able to provide links to verifiable information. All I've seen from you are your proclamations that everybody here is wrong and you're right so we have to accept it, proving nothing about your arguments.
 

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LibraryThing in its very name markets itself as primarily made for librarians. Most of the people who review the titles I give away on this platform are librarians, agents and the like. Maybe agents/ librarians just really like my titles on this platform, but not yours, so that's why you see fewer of them. Your hardcover 15% royalty rate is fictional - show me a royalty statement with that rate, and I'll use it in potential future negotiations with these publishers that will offer me 5% or less for the same hardcovers. Perhaps men automatically get higher royalties than women, or maybe you have some other special privilege. How do you know your stats reflect the industry - you have to give your source to be believable. The scholarly books I've published had an 8% royalty, so I'm assuming pop fiction with a mainstream publisher has to pay less than this amount per book. You are right I was too easy on the giant publishers - they definitely do not make book trailers for all of their front list titles - but only for a fraction of them. As you can see I'm right on all counts - and you have a lot of errors to correct.

Er, no. You're not right on any count.

LibraryThing, according to their home page, is "A community of 2,100,000 book lovers." It's just like Goodreads. Now, if we were talking about Library Journal, that would be different.

I'm basing my numbers for royalties from my own contracts with Tor, Viking, and Harper Voyager, and from what I've heard from fellow authors. Please note that I said 15% was tied to an escalator clause.

I do have the privilege of being a white writer, but not any other privilege, as far as I can tell.

You missed my point about your use of "front list", but okay.
 
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