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I've just sold my urban fantasy novel (don't ask the name - it doesn't have one yet) to Flux, a small imprint of Llewellyn Worldwide, and I've already been through the fun of explaining how to spell Flux, who Flux is, and why I went with them at least three million times with various relatives and friends.
It would've been easier to get published by Scholastic or Random House, huh? At least they could nod and say, "I've heard of them."
It's been a little bit since I've accepted the offer, though, and I only get more pleased with my choice of small publisher. Bunch of reasons.
First of all, my editor, Andrew Karre, rocks. I don't pretend to know all the ropes of writing and he is amazingly hands on throughout the editing process. Plus, being part of a small list at his imprint means he knows my name, knows where I am currently on my revisions, knows my dog is pregnant and has morning sickness, and can send me intelligent e-mails on any of those topics in short order.
Nice.
And though they're small, they're mighty: before I signed with them, I did the smart thing and headed to the local Border's. Yup, sure enough, in the YA section, the bookstore carried several of Flux's books and displayed one of them face-out -- that's good. Very good. It means my publisher can play with the big boys and get me on those shelves as well. In a world where Border's is king and Barnes and Noble is . . . uh . . . co-king . . . I want to be on their shelves.
So I'm happy. Maybe I'm not tossing the hundreds of thousands of dollar bills from my advance check to frenzied natives, but I'm secure in the knowledge that small publishers believe in backlisting and the long haul and keeping books on the shelf for as long as possible.
This is beginning to sound like the story of the rabbit and the tortoise, isn't it?
Anyway, I know I'm not the only one that's gone with a small imprint or a small publisher. I'd love to hear anyone else's thoughts on their small publisher experience.
It would've been easier to get published by Scholastic or Random House, huh? At least they could nod and say, "I've heard of them."
It's been a little bit since I've accepted the offer, though, and I only get more pleased with my choice of small publisher. Bunch of reasons.
First of all, my editor, Andrew Karre, rocks. I don't pretend to know all the ropes of writing and he is amazingly hands on throughout the editing process. Plus, being part of a small list at his imprint means he knows my name, knows where I am currently on my revisions, knows my dog is pregnant and has morning sickness, and can send me intelligent e-mails on any of those topics in short order.
Nice.
And though they're small, they're mighty: before I signed with them, I did the smart thing and headed to the local Border's. Yup, sure enough, in the YA section, the bookstore carried several of Flux's books and displayed one of them face-out -- that's good. Very good. It means my publisher can play with the big boys and get me on those shelves as well. In a world where Border's is king and Barnes and Noble is . . . uh . . . co-king . . . I want to be on their shelves.
So I'm happy. Maybe I'm not tossing the hundreds of thousands of dollar bills from my advance check to frenzied natives, but I'm secure in the knowledge that small publishers believe in backlisting and the long haul and keeping books on the shelf for as long as possible.
This is beginning to sound like the story of the rabbit and the tortoise, isn't it?
Anyway, I know I'm not the only one that's gone with a small imprint or a small publisher. I'd love to hear anyone else's thoughts on their small publisher experience.
Current Mood: 
sleepy
sleepyCurrent Music: Matchbox 20
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