How to Publish A Book

A Guide for Business Professionals, Consultants, Doctors, and Other Nonliterary Types

Abstract:

Most professionals know that a book is a key element to building a reputation as an expert, but what they don’t know is how to write and publish a book. This guide explores the elements of a book proposal, ghost writing, other editorial services, understanding your publishing options, and how to determine which option is best for you. A book is by far the best and most effective way for an expert to share his or her knowledge with others. A book is a resource, an uninterrupted communication tool, and an effective way to sell the expert as a superior thought leader in his or her field. A book is also a jumping off point from which to create other ancillary materials such as workbooks, audio, eBooks, and other items that enhance a professional’s career. Unfortunately, actually publishing and distributing a book is a daunting task and many professionals don’t know where to start.

Intro:

Where To Start
Before you can approach the idea of developing a book proposal, you need to know what it is you want your book to be about. Start by organizing your thoughts and honing your message. Pull your thoughts together, and identify your key message, sub topics, talking points, and supporting evidence. The first thing you need is your key message. What is the big idea you want someone to take away from your book? Is it to eat healthier, be more frugal, become more organized, or some other idea? Your key message is the end goal and the umbrella under which all of your efforts will fall. For example, let’s say you are a physician specializing in integrated medicine—your key message might be something like “treating the whole person and not just the symptoms” or “complete wellness.” Next you need to brainstorm sub topics. Sub topics are the next level, or hierarchy under which you will organize the information, strategies, and tips you will share to help achieve your key message. Often these are represented as chapter or section headings. Using the integrated medicine example above, under the key message “complete wellness,” we can establish the following sub

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topics: 1. Pitfalls of Traditional Medicine 2. Overview of Alternative Medicine 3. Integrating Traditional and Alternative Medicine 4. Listening to Your Body 5. Achieving Total Wellness After your subtopics are established, you want to list the talking points that you will discuss under each subheading. Examples, case studies, strategies, and other evidence support the talking points. Using our outline above, we will fill out the talking points for #1, Pitfalls of Traditional Medicine: 1. Pitfalls of Traditional Medicine a. Band-aid Solutions: Focus on symptoms, rather than the cause b. Overmedicated: Pros and cons of modern pharmaceuticals i. Statistics on the number of medicines on the market ii. Statistics on the number of lawsuits or claims from side effects iii. Numbers on the reduction of serious diseases through vaccines and monitored treatment c. Increasing Expense: Rising cost of healthcare i. Prevention over treatment 2. Overview of Alternative Medicine 3. Integrating Traditional and Alternative Medicine 4. Listening to Your Body 5. Achieving Total Wellness As you can see, we have already started to form an outline. This outline is what the author will use to create the book proposal, which will also be used to develop the book. Be sure to include statistics, anecdotes, graphs, case studies, and other important information that will help support your points, as these items are key selling points for your proposal.

Elements of a Book Proposal
Unlike fiction, where an author must have a completed manuscript ready before they approach a publisher or agent, a nonfiction author only needs to develop a proposal to submit to publishers and/or agents. The proposal should answer the following questions: 1. Content: What is the book about? 2. Market: Who would be interested in this idea? 3. Competitive Titles: What other books already exist on this topic and how does this one differ? 4. Platform: Who is the author, why is the author the best person to

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produce this book, and what are they doing to engage with potential readers? Content: What is the Book About? This section of the proposal is usually 1-3 pages, unless you include a sample chapter which can range anywhere from 5-20 pages. Length is not as big of a concern as the quality of what’s included. If you completed the steps in the section titled “Where to Start,” you should already have an outline for the information you want to cover in your book. Based on that information, you want to come up with a brief, one sentence pitch that captures the soul of your idea. For example: “Affordable and complete wellness.” This is the hook of your book—the key message we discussed earlier. Next you want to create a short summary paragraph that goes into slightly more detail about how the book will achieve your hook. For example: This book is a guide for achieving complete wellness in an affordable and holistic way. It explores the pitfalls of the modern health care system and identifies ways to integrate alternative medicine techniques into traditional medical practices. The book educates the reader on current practices and arms them with new resources and techniques to achieve total wellness. If you have a startling statistic that stresses the importance of this message, by all means use it here. That information will help sell the importance of your topic to the prospective agent or publisher. Once your opening summary is developed, you will follow it with your outline. Your outline identifies the chapters and the key topics they will address. Identify any compelling facts, strategies, case studies, or information you will use to support the ideas in each chapter. You may include a sample chapter if you choose. Some publishers and agents require one, but many don’t. It really depends on whether you will be the one actually writing the book (we will discuss ghost writing later), and on the agent or publisher’s requirements. Market: Who Would Be Interested? This section can be anywhere from 1/2 of a page to 2 pages. Here you identify the market for your book both in qualitative and quantitative terms. To determine who your audience is in qualitative terms, ask yourself the following questions: • Who would be interested in your topic? • Where do they live?

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• • •

What kind of work do they do? What are their hobbies? How do they get their information? And so on.

The key is to be as specific as possible. It’s not enough to say your book is geared toward “men” or “businessmen.” For example, this paper is not geared to all professionals. This paper is for professionals who are considering publishing a book, but who may not necessarily be writers. Instead of “businessmen,” one could say “middle managers of Fortune 500 companies” or “solopreneurs in the retail sector.” Not only does this help you identify marketing opportunities for your book, but understanding your market helps the publishing team cultivate your content so that it speaks to and meets the needs of your audience. Quantitative information is a bit more time consuming to locate, but can be valuable in determining the strength and validity of your topic/idea. If there are a large number of potential readers, publishers will consider a project. Specialty or niche topics that appeal to a smaller group are more difficult to place with a publishing house and are even more difficult to distribute nationally. To help you, here are some resources for locating numbers on specific groups: 1. Go to the U.S. Department of Labor’s Bureau of Labor Statistics at www.bls.gov. There you can locate demographic information including numbers and geographical saturation. 2. Contact organizations that cater to your market and ask for data on the number of members and their demographics. 3. Identify the top magazines your audience reads. Go to their advertisers page. Often, there is an advertisers kit that includes demographics and audience size. Competitive Titles: What Other Titles Exist on the Market and How Does This One Differ? In your proposal, it is important to note the top 2-3 related titles and how your project is different from them. Not only does this help identify the potential sales numbers for your book, but it also helps the publisher identify exactly where you fit into the market. There are several ways you can locate this information: 1. Go to the bookstore and talk to a bookseller responsible for the section your competitors are shelved in. Ask them which titles are “evergreens” and which titles have a good sales history. Though local trends can vary, it’s a good place to start. 2. See which relevant titles are listed on the New York Times and Wall Street Journal bestseller lists. 3. Nielsen provides a service called Bookscan. It lists the sales for each book title, including each edition of every title. Publishers pay to have a subscription, but individuals can purchase sales history on individual titles for $85.

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After you have identified the top 2-3 titles, compare them with your project. How are you different? It’s extremely important that your book be different in at least some way. Readers do not want a rehashing of existing information. They want something new and fresh. You can set yourself apart in a number of ways: 1. Do you challenge any of the assumptions or strategies those authors make? 2. Do you have a fresh approach or new information to add to the discussion? 3. Do you have a more engaging voice? 4. Do you have more credibility or experience? 5. Are you more specialized, or more comprehensive? Knowing the answers to the questions above will also help you to further hone your message and develop your marketing strategy. Platform: How Will You Sell Books? What is an author platform? Essentially, it’s the base of people who have a builtin interest in your book and who would regard you as an authority in your field. Your platform is your audience; your publicity plans and other promotional activities will be targeted at them. The author platform is essential because it is what sets you apart from every other author in your genre. Publishers and media always look at the author platform, sometimes even before they look to the content of the book itself. Just like a physical platform, an author platform raises you above the crowd. The platform is what will cut through all of the millions of advertising and media messages and carry your book to readers, and in turn drive sales. If your platform is not strong, active, and growing, publishers and media will move on to the next author who does have one. You don’t want to wait until you have a book to start building your platform. You need to start right away, so you can have a built-in readership and momentum to build upon with more platform-building activities after the book is published. There are many ways to connect with your potential readers so you can build a platform. The best platform strategy integrates several if not all of these elements: • A website: You need to have a well-designed, content rich website both for you and your book. • Blogs: Blogging lets you create current, fresh content on a regular basis. Pull content from your book and use it to develop brief blog posts. Comment on current events, news items, or trending topics. Answer questions or pose questions to generate interaction with your followers. • Social Media: Outlets such as Twitter, Facebook, LinkedIn, and others let you promote your media efforts, blog, and book, and

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enable you to stay connected with your audience. Applications such as Spredfast and Twitterfeed let you easily manage your social media without spending a great deal of time or money. Speaking/Teaching/Appearances: Authors are viewed as experts, and experts share their knowledge with others. Speaking on topics related to your platform, teaching others the skills you either used to develop your book or that you illustrate in your book, and making appearances on television and radio shows related to your topic all help you engage your audience. Organizational involvement: Being involved in writers and trade groups, charities, and local organizations lets you keep in touch with the people you want to connect with. If you are involved not only will they be more interested in what you have to say, you will also learn more about your audience and what they are looking for (here is where you get ideas for blogs, new books, and media appearances). Articles and sourcing: Authors write articles on their subject and often serve as expert sources for journalists. This helps build the author’s credibility as an authority figure and trusted source, which, in turn, helps drive book sales.

There is no limit to the types or number of activities authors can engage in to build their platforms. However, in order to successfully grow your platform, each of these activities needs to be cohesive and relevant to the overall topic and consistent with your message. They also need to be content rich and provide value. Purely promotional talk or advertising does not engage readers. In fact, it does the opposite and turns them off completely to your message. Developing a book proposal is essential, regardless of which publishing option you choose to use. For more information on how to write a book proposal, check out the following resources: • How to Write a Book Proposal by Michael Larsen: A literary agent shares his tips on how to write an attractive book proposal. • Book Proposals that Sell: 21 Secrets to Speed your Success by W. Terry Whalin: Offers key tips on developing a proposal, an outline for a strategic marketing plan, and insider knowledge on why editors reject some proposals.

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Writing and Editing Services
You’re a busy professional. The time and energy it takes to write a book may seem incredibly daunting, despite the benefits. You may not even consider yourself a writer, but you know that you have something of value to share with the market. Plus, you have a business to run, clients to manage, and other tasks that demand your attention. With these considerations in mind, how can you write a book? Luckily, nonfiction does not demand that the author be a literary genius. In fact, the author does not need to write at all. Many publishers provide writing and editing services and there are also a plethora of freelance editors and writers available through vetted sources. So long as you have your talking points and ideas developed, someone else can help you craft them into a logical, well thought-out, and informative book. To get a sense of what kind of assistance you need, you first need to understand how writing and editing services are packaged. Writing and editorial services are divided up into these categories: • Ghost Writing: A writer is commissioned to write the entire book under the professional’s name. The writer works closely with the professional to match the professional’s tone and to clearly weave together the professional’s expertise into a cohesive book. • Developmental Editing: Also known as a “high-level directional edit,” this is for a manuscript already developed by the author. Under this type of editing, an editor will work to determine a clear focus for the book, reorganize content to improve flow and cohesion, and develop areas that are weak. The editor may also work to improve the content’s market appeal so that it better meets the needs of the reader. • Substantive Editing: This type of editing usually involves heavy, line-by-line changes with the occasional restructuring of content. The editor will improve the quality of the prose and style and make corrections to grammar, punctuation, and usage. The editor may also include some rewrites if they are deemed necessary. • Copyediting: At this level of editing, the author’s basic style is not altered. Instead, the editor focuses on addressing issues of basic style, grammar, usage, and punctuation. If necessary, some heavier editing may occur to improve areas of the text that are confusing or unclear. • Proofreading: This is a basic edit for grammar, punctuation, and spelling errors. • Indexing: Editors create an index for the book, which makes it easy for readers to quickly identify key topics of interest and their location inside the book.

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The services you need will depend on how much time you have to dedicate to writing, your writing skills, and the publisher you choose to work with. Most freelance editors specialize in only one area, which means that if you require a high-level edit, you will also need to hire an additional editor for copyediting and/or proofreading. Keep this in mind when pricing out freelance projects.

Publishing Options
Once you have your project outlined and your proposal ready, it’s time to approach a publisher. There are several different options available to professionals. Which one is best for you depends on your career goals, topic, potential market, and resources. This section will address the pros and cons of each option. In the next section we provide a self-analysis that helps you identify which option is best for you.

Option One: Traditional Publishing
The first option is to sell publication rights to a traditional publishing house in exchange for an advance and royalties. How this process works: Most traditional publishers do not accept proposals directly from authors. Instead, the author must first secure a literary agent to represent them. An author secures an agent by sending them a query. If the agent is interested, they will ask to look at a proposal. Then, if they like the project, they will offer the author representation in exchange for 10-15% of the author’s royalties. This process can take several months. Unfortunately, securing an agent does not guarantee publication. Although the agent has access to the publishers, the agent must query and court the publisher in the same manner that the author queried the agent. This adds additional time, up to several months, to the total process. There are several reasons for choosing a traditional publisher: 1. Credibility: Traditional publishers have established a solid reputation, which gives authors—especially new authors— automatic credibility in the market. 2. Distribution: Traditional publishers have strong relationships with wholesalers and retailers nationally. Furthermore, the agent can sell foreign and language rights, getting the author distribution in additional geographic and language markets. 3. Small Up-front Costs: Traditional publishing requires the fewest up-front costs. Usually, the only costs attributed to the author are

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4.

marketing, though some are encouraged to hire an outside editor or ghostwriter. Quality: Traditional publishers screen potential projects, making sure only the best content makes it to the market.

There are also several downfalls to traditional publishing: 1. Lack of Brand Control: The author has little to no say in the design and packaging of their project. 2. Low Royalties and Advances: First time authors usually receive advances of $2,000 to $20,000. Once the advance is earned back, the author begins receiving royalties, which range anywhere from 5-7% for paperback and 10-15% for hardcover (**remember—the agent is also skimming 10-15% off the top of the royalties the author receives). Unfortunately, many authors do not earn back their advances, which in turn may hurt their chances for publishing a second book. 3. Slow Time-to-Market: It can take as long as two years to secure an agent and a publisher, and another year for a book to reach the market. 4. Ownership: Under this model, authors sell the right to publish their work for a defined period of time. Since the authors sold their publication rights, they have little say in the direction, distribution, or amount of time their book spends in the market. If for any reason the author is dissatisfied, they must either buy back their rights before the agreement ends, or wait for the book to go out of print (at which time rights revert back to them), before they can take it elsewhere. Next Steps If you decide to take this option, the first thing you need to do is start querying literary agents who represent your genre. You can find an agent through the following resources: • Association of Author Representatives (AAR): This organization requires that all members follow a strict ethical code, which is important considering the fact that agents should only make money when you do. Any agent who asks for a reading fee or money up front is not included in this organization. http://aaronline.org/ • Guile to Literary Agents (GLA): This resource is available as both a book and a daily blog. This blog is sponsored by Writer’s Digest and features a different literary agent every day. The blog discusses the types of work the agent represents and their submission guidelines. You can search by genre to locate agents who will represent your work. http://www.guidetoliteraryagents.com/

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You may also want to read the following books to acquaint yourself with the agent process: • How to Be Your Own Literary Agent: The Business of Getting a Book Published by Richard Curtis: Written by an agent, this book explains the agent process, contracts, and how to retain creative control over your work. • Making the Perfect Pitch: How to Catch A Literary Agent’s Eye by Katherine Sands: Shares tips and pointers from various agents and includes a section on how to do a live and in person pitch. • How to Get a Literary Agent by Michael Larsen: Discusses how to make yourself attractive to agents and how to be a stellar client. • The Writer’s Digest Guide to Query Letters by Wendy BurtThomas: Discusses the elements of query letters and how to craft one specifically for your genre. The agent will know which publishing houses to submit your work to. Most often, agents will focus on traditional houses, also known as the Big Six, which include Hachette, Harper Collins, MacMillan, Random House, Penguin, and Simon & Schuster. Each house owns several imprints, each specializing in a different genre or genres. The agent will query the acquisitions editor for the appropriate imprint. During this time you will want to continue to build your platform so you can demonstrate your ability to perform in the market.

Option Two: Vanity Publishing
Vanity publishers will publish any book, regardless of the quality of the content, for a fee. The author pays a large up-front fee to produce the book, and also gives the vanity publisher a 50-75% stake in the sales. Although a vanity publisher guarantees publication (for a fee), there are many disadvantages: 1. Poor Quality: Vanity publishing is known for producing poor quality both in content and in packaging. As a result, most retailers will not carry books published through a vanity house. 2. High Up-front Costs and Low Return: Most vanity publishers charge incredibly large sums, especially considering the quality of the work. Also, since they make most of their money up front, vanity publishers have no incentive to insure the success of the book. 3. Little to No Distribution: Because of the poor quality both in terms of content and packaging, very few retailers will carry books published by a vanity press. 4. Bad Reputation: Again, because of poor quality, books published through vanity presses are automatically labeled with a stigma,

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making it difficult to get media attention and retail placement. Next Steps If you decide this option works for you, the next step is to locate a vanity publisher who can produce the quality of work that fits your needs under terms you are comfortable with. Examples of vanity publishers include PublishAmerica, LuLu, and others.

Option Three: New Technology Publishing
New technology publishing, including eBooks and print-on-demand (POD), provides authors with additional options. Still, like any options, new technology comes with both pros and cons. First, lets take a look at eBooks: • Many eBook publishers accept works just like vanity publishers— with little to no criteria. As a result, there is no quality control governing the content published through eBooks. • Although eBook sales are growing, they still represent only a sliver of the total book market. Thus, eBooks are not viable as the sole method of production for most books. • Because it is affordable to convert books into eBook format and because there is a steadily increasing demand for this format, many traditional and independent publishers are offering this option in conjunction with their pre-existing publishing services. While eBooks are available only online or through a reading device, POD materials are created with the intent that they will be published and printed when someone is ready to buy them. Special note—there is a difference between POD publishers and POD Printers. Printers merely print the file, while publishers actually handle the entire process of editorial, layout, and design. Here are a few things to consider before selecting a POD publisher: • POD publishers are known for accepting works regardless of quality, which automatically gives POD books a negative stigma among media and distributors. • POD products are not stocked in major retail outlets. Customers have to order POD titles. Unfortunately, very few consumers are willing to special order a title. They would prefer to order a book already in stock or purchase one through an online retailer such as Amazon. • The author pays for the formatting and layout, but does not retain the rights to those files. If for any reason the author chooses to take their project elsewhere they will have to pay to have those files reformatted. As we mentioned earlier, POD printers typically do not offer design, editorial, or other services. Still, POD printers can be of value, especially for those authors

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who wish to print titles with unknown or limited sales potential. The largest and best know POD printer is Lightning Source. Owned by Ingram, the publishing industry’s largest wholesaler, Lightning Source has the ability to make every one of its titles available for special order through bookstores and online. They are an excellent choice for short print runs or for turning around a limited number of copies in a short amount of time. Still, there are a few things to consider; • If you are planning on a national release and you expect to sell more than a thousand copies, a traditional offset printer will provide you with the lowest cost per unit. • POD printers are limited in their design and layout options. Traditional printers have more choices. Just like with eBooks, most traditional and independent publishers have POD technology services available for their authors. Next Steps If you are interested in eBook or POD technology, you may either discuss this with your traditional or independent publisher, or you can contact a POD publisher or printer directly. Examples of POD publishers include Outskirts Press, Lulu, Xlibris, and others. POD printers include Lightning Source, A&A Printing, and more. Be sure you do your research to find a service provider with the distribution, design, and reputation standards you need to meet your goals at a reasonable price.

Option Four: Self-Publishing
Self-publishing is growing in popularity, despite the negative stigma sometimes attached to it. Self-publishing, like every other option, comes with its own mix of pros and cons. On the upside, self-publishing gives the author complete ownership and control over content, design, and time-to-market. The author also keeps the total return on the full cover price of all books sold. Still, there are many fallbacks to self-publishing: • Self-publishers do not have access to a full editorial team and must coordinate all editorial work themselves. • Designers who work with self-publishers often lack the knowledge to design and format a product that meets strict industry standards, which can hurt distribution. • Self-publishers do not receive the volume discounts on printing that established publishers do. • Lack of brand recognition also hurts distribution. Self-publishers can work with a distributor, but again they must do their research carefully to find one that can meet their needs. • The self-publisher must coordinate the entire project from start to finish as well as handle all marketing and distribution. For the busy professional trying to build a brand, this can be a huge undertaking.

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Again, because anyone with the means can produce a book regardless of quality, self-publishing is viewed as poor quality by media and book retailers. Strong sales as a self-publisher can lead to a deal with a traditional publishing house, but too often it is difficult to break the stigma associated with selfpublishing. Before pursuing this option, you must decide if retail distribution and media coverage is important to you. Next Steps Before pursuing the self-publishing option, you will want to familiarize yourself with the publishing process. Here are a few resources to help you do that: • The Complete Guide to Self-Publishing by Tom and Marilyn Ross: This book surveys the entire process from writing to publishing and promoting a book. • The Self-Publishing Manual by Dan Poynter: This book covers all of the basics, including technical specifications and vendors. • Self-Publishing for Dummies by Jason Rich: In the spirit of the For Dummies series, this book is a simple introduction to the business of self-publishing, complete with standout graphics. Next, you will want to identify vendors, editors, and distributors to help you meet your goals. Many are identified in these books and include Amazon CreateSpace, Authorhouse, Lulu, and others.

Option Five: Independent and Hybrid Publishers
The last option available to authors is known as either an independent or a hybrid publisher. These publishers combine the benefits of self-publishing with the distribution power and quality of a traditional publisher. Most independent publishers offer: • A higher royalty structure of anywhere from 20-35% of the cover price for books distributed through a retailer and 100% of the cover price for books sold directly by the author. This is a good option for authors considering back-of-room sales or including a book in a seminar or speaking package in addition to traditional retail distribution. • Ownership over the creative process including packaging, branding, and all publication rights including foreign, language, and film. • Independent publishers maintain a stringent submission process vetting the best clients and projects so that they only handle quality projects. They also provide full editorial and ghost writing services, competitive design, production, and distribution services. • The time-to-market is relatively short, usually less than a year. Plus, independent publishers will keep a book in the market

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beyond the standard 3-6 months allowed by traditional publishers. Some independent publishers include marketing packages that enhance and compliment the author’s own marketing efforts.

Independent publishers vary in terms of up-front costs. For the most part, because of their adherence to quality and powerful distribution, independent publishers cost more then vanity and self-publishers. Still, they provide competitive quality, credibility, and access to national and specialty retailers, which is a tremendous benefit for those professionals looking to build a national brand. Next Steps If you decide that an independent publisher meets your needs and resources, you will want to begin by pulling together your book proposal and budget. Next you will want to research potential publishers to find one that represents your genre. Agents do sometimes work with independent and small publishers, though most independent houses work directly with the author. Some well-known independent publishers include Greenleaf Book Group (specializes in nonfiction, primarily business, health, and wellness), Sourcebooks Publishing (specializes in gift book publishing), Chelsea Green (specializes in socially minded topics and politics), and many others. You can find independent publishers through the following resources: • Independent Book Publishers Association (IBPA): A professional association for independent publishers. They host IBPA Publishing University prior to Book Expo ever year in New York City http://www.ibpa-online.org/. • Small Publishers Association of North America (SPAN): Supports independent and self-publishers http://www.spannet.org/ These websites also offer information on awards and recognition both for individual titles and for publishers. Such information can help you identify quality leaders and which genres they represent.

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How to Choose Which Option is Best for You
Now that you have a basic understanding of the options available, you need to evaluate your skills, goals, project, and budget to determine which option is best for you. The questionnaire below will help: 1. Would you rather: a. Not spend your own money and get paid up front b. Pay just to print in exchange for a moderate return c. Make a reasonable up-front investment for a higher return Would you prefer to: a. Let someone else handle the entire process b. Manage the process yourself c. Retain creative control while working with an experienced team In terms of marketing and sales, are you more comfortable: a. Handling your marketing, but knowing the publisher’s credibility will carry you through the distribution chain b. Handling all of your marketing and forgoing retail distribution c. Coordinating your marketing efforts with an organized and strategic campaign through retail and specialty distribution channels while having the option to sell directly In terms of creating content, are you more comfortable: a. Writing it yourself, but working with an editor to finalize it b. Writing and editing it all yourself—I’ll hire an editor if I need one c. Writing it yourself, but using the help of a ghost writer or an editor to organize your thoughts and save time When it comes to design, would you rather: a. Leave it to the pros b. Do it yourself c. Have creative control, but work with a skilled designer When it comes to distribution, do you want: a. Access to a traditional distribution chain b. To sell them all yourself c. A combination of traditional distribution and the ability to sell books on your own in return for the full cover price

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3.

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Answer Key Mostly A’s: Traditional publishing is probably the best option for you. Mostly B’s: Vanity, new technology, or self-publishing may be best for you. Mostly C’s: An independent/hybrid publisher is likely the best fit. Regardless of which option you choose to pursue, it is vital that you protect yourself by doing your homework, taking the time to weigh the pros and cons, and analyzing the option’s ability to help you meet your short and long-term goals. Publishing a book is a smart and crucial step toward building your brand. Take the time to do it right.

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This white paper was produced by Greenleaf Book Group. Greenleaf Book Group is an independent publisher and distributor helping experts with brand building and the development of intellectual capital. Greenleaf goes beyond the book, providing services in specialty placement, marketing, distribution, and the publishing of ancillary materials. Greenleaf is more than just a publisher; they also help professionals build their businesses. To learn more visit www.greenleafbookgroup.com or call 512-891-6100.

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